The air in Prïncia Car’s The Girls We Want is thick with the heat of a Marseille summer and the restless energy of youth. In the city’s sun-bleached outer districts, a community center becomes the entire world for a group of adolescents.
At its center is Omar, a well-meaning 20-year-old whose dependable presence earns him the keys to the place. He is a gentle giant, navigating his summer responsibilities and a sweet, chaste romance with his 17-year-old girlfriend, Yasmine. The film initially presents a familiar tableau from European social-realist cinema: life in the banlieues, captured with an almost ethnographic patience.
We are introduced to a specific social ecosystem, where the rhythms of daily life and the bonds of friendship seem straightforward. Yet, beneath the surface of this seemingly simple coming-of-age story, a palpable tension waits for a spark. The film establishes its cultural footing immediately, rooting its story...
At its center is Omar, a well-meaning 20-year-old whose dependable presence earns him the keys to the place. He is a gentle giant, navigating his summer responsibilities and a sweet, chaste romance with his 17-year-old girlfriend, Yasmine. The film initially presents a familiar tableau from European social-realist cinema: life in the banlieues, captured with an almost ethnographic patience.
We are introduced to a specific social ecosystem, where the rhythms of daily life and the bonds of friendship seem straightforward. Yet, beneath the surface of this seemingly simple coming-of-age story, a palpable tension waits for a spark. The film establishes its cultural footing immediately, rooting its story...
- 6/30/2025
- by Enzo Barese
- Gazettely
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