Tomboy

Laure, the tomboy of the title, moves because of Dad's job to a new neighbourhood and has to negotiate the minefield of finding new friends. With her short-cropped hair and boyish looks, it is easy for Laure to pass herself off as a boy. So she does. Existing as Mikael, she digs a hole deeper and deeper for herself during summer holidays. With the start of school approaching, friendships made and romances embarked upon, something has to give.

The film works in large part due to the casting. Zoé Héran as Laure / Mikael is so convincing as a boy that when she does finally don a dress it just looks... wrong. A double for a young Sting, she has an easy charisma and strong expression that makes her every move unmissable. Mikael is befriended by Lisa, a precocious Jeanne Disson, and young love blossoms in bizarre circumstances. As strong as these two performances are, Malonn Lévana Malonn as Laure's little sister Jeanne steals every scene she is in. Given a secret to keep half-way through, she crackles and delights every time you see her and wonder if she can keep the confidence.

As delightful as the children are, the theme of a young girl yearning to be a boy is presented but hardly explored. The film is episodic, one summer in the life of a mixed up girl. Laure's reasons for taking things so far are never dealt with beyond surface levels, and no resonance to wider concerns in society are present. The narrative strains with such insubstantial fare, but never breaks. Fans of such coming-of-age tales as Stand By Me or Yamada's Village of Dreams will enjoy this tale.

"Tomboy" is a French coming-of-age drama featuring Zoe Heran as Laure, who has just moved to a new neighborhood and is looking for new friends. She sees the camaraderie among the boys and as a result decides to pretend to be a boy and tells everyone that she is Michael.

Michael becomes close to Jeanne(Malonn Levana), plays soccer, has water fights and swims with the other kids in what could be a typical summertime anywhere.

The child-actors, particularly Zoe Heran are very believable. Laure/Michael is on screen most of the time and is an actress to watch for in the future.

Zoe(Michael/Laure) is contrasted with a very feminine little sister illustrating how different even close siblings can be. Most directors don't edit enough, but this feature felt a bit short at 79 minutes. It is worth your time for Ms. Horan's performance.

I watched this movie a few months ago, and I still think about it occasionally, so it did leave a mark for sure. It does have a lot going for it - very convincing performances by the child actors, fine cinematography, and an intriguing story line. That said, I am somewhat disappointed at how the movie treats the subject matter, perpetuating the "boys will be boys" and "girls will be girls" stereotypes. I understand that plenty of truth to the stereotypes, and it doesn't do any good to that things such as homophobia, transphobia, queerphobia and sexism do not exist, but for a movie that deals with the touchy subject of gender to be worthwhile, I feel it should view these issues with at least somewhat of a critical lens, and not merely paint the picture of "this is how things are" and leave it at that. "How things are" I see in real life and live in my own childhood. So, while not a bad movie by any stretch, it did feel sort of unresolved. And sad.

This small independent film was made for peanuts (Filmed on a Canon 5D and just a handful of people in the crew) and it is probably unlikely to make any big impact on the box-office. However I'm sure it'll leave a mark on those few who will actually manage to see it.

Zoé Héran is absolutely wonderful as Laure, the 10 years old girl who's just moved into a new neighbourhood where nobody knows her and pretends to be a boy (Michaël) with her new friends. Her performance is one of the best of the year, and possibly among the best ever performances by a child: she not only perfectly captures that innocence that children of that age have, but at the same time she seems to have a deep understanding of the struggle and the pain of her character. Throughout the film she really acts as if she was a real boy in a way that's so believable that at some point I really started to wonder whether "she" was actually a real "he". The film knows that and it does play with you by stretching the lie as far as it possibly can, until it decides to show you the real truth in a beautifully handled scene where you do actually see briefly the girl naked. It's a fleeting moment and the film obviously doesn't linger on it, but it's enough to put our minds at rest so that we can carry on enjoying the rest of the story.

The director Céline Sciamma's ability to film children making it look real is incredible. It feels effortless as if the camera was one of the children themselves and we as the audience are left observing them playing in the forest as if we were spying on them, or as if it was all a documentary. Rarely I have seen scenes with such young children that feel so honest and real: the approach is subtle and light, the atmosphere is almost muted, dialogue to advance the story is used to a minimum and the silences are charges with meaning and intensity. This is a subject that rarely makes the news, let alone the movie theatres. And it's so refreshing not just to see it depicted in this film, but to have it told with such an understanding, honesty and open-mindedness. All this together with the stellar acting from little Zoé make the internal drama of Laure/Michaël even more poignant and powerful. Be warned, this is a slow film (a very short one too at only 82 minutes), that has "French independent" written all over it, from its pace, to its rough look and its lack of music score, but if you, like me, love films about children growing up, this sensitive, tender and never heavy- handed story might just melt your heart too.

I saw it months ago and I still remember it vividly, so it must have worked on me.

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It feels like a time gone by of dreamy focused, eternally youthful, summer days: running around in woods, water fights, wrestling, sitting out of football matches, Play-Doh spaghetti, and feeling too scared to stand next to the other boys to pee.

With an approach that is far more Boys Don't Cry than it is Mrs Doubtfire, and by hitting upon gender identity during pre-puberty, a lengthy and distancing make-up job can be avoided.

And so without a rubber nose nor silicone jaw in sight, little Zoé Héran is left stripped bare, literally, to "play boy", with performance alone. And her performance as Laure / Mikael is nothing short of genius.

Masculinity is a hard act to pull off, but pre-pubescent masculinity is such a fine and narrow ledge between forced and feminine that it's incredible that it feels so effortless for a ten year old actress. Compare this to Glenn Close and Janet McTeer in Albert Nobbs, and they feel even more like Little Britain characters than they ever did tearing along the beach screaming "I'm a lady…" And they both got Oscar nominations…?

Zoe is surrounded by a cast of unbelievably naturalistic fellow children; her six-year old sister Jeanna, and the relationship they share is so intimate and convincing that every now and then I simply couldn't imagine there being a camera and film crew right up in their playful, cute as a button, faces.

Her burgeoning relationship with new neighbor Lisa, is as delightful as it is frightful, as you know that at some point there has to be a denouncement that Mikael is not all he seems – and for those of you that have experienced it, you thought that finding out your boyfriend was gay was tough?

Maybe, just maybe, it's because they're talking French that the performances and dialogue feel flawless – murmur in Parisian tones underneath sparse subtitles and I'm sold – or maybe it's because elsewhere they just don't grow 'em like they grow 'em in France.

The script, story, direction and cinematography are enviable, and throughout you hold a little silent prayer in your heart that it's not going to end up, like Brandon Teena, in a ditch.