With the insouciance that only really beautiful people can manage, Floriane indulges Marie's adoration and one evening even encourages her to call round at her house and go for a walk. Sciamma's sexual quadrangle exposes each of their vulnerabilities, and it discloses the awful gulf between boy and girl, girl and girl, gay and straight, and most agonisingly of all between pretty and non-pretty. Their strict teacher wants to make a body-hair inspection, a scrutiny which inevitably has a sexual undertow. Floriane thanks Marie for the interruption, and later tells Marie that she wants Marie to be her 'first', but Marie rejects Floriane. Adele Haenel is older -- more, well, more developed physically. In bed, it seems as if Marie accomplished the goal.
This is the ultimate sexual and political incorrectness, and perhaps only a woman director could get away with it, though the eroticism is tempered by fear, by self-questioning, and also by the director's un-sexual compassion for the pain brought on by unrequited love, and perhaps even more by requited love. The two girls stand there staring at one another, neither having overtly expressed a sexually tinged interest in the other. Just compare it to the typical American movie about high school kids. Pauline begins to draw closer to Adele and Adele finally confesses that she'd like to rid herself of her hymen and she would like Pauline to do it for her. The only nudity we see is considerably less than a turn on, and what little sex there is under the covers, sometimes literally. The setting is a suburb just north of Paris, and a provincial pool which is the arena for the local school's girls' synchro-swim team, whose undoubted star is glamorous Floriane, played by Adele Haenel. In bed, it seems as if Marie accomplished the goal. The French are long on paradoxes and short on consistency. No wonder Francois is always sniffing after her. When Pauline approaches her about joining the swim team, Adele uses her as a lookout during assignations with the guys. Their strict teacher wants to make a body-hair inspection, a scrutiny which inevitably has a sexual undertow. She's not yet out of her adolescent growth spurt and has long, bony limbs, big feet, and no derriere to speak of. Pauline Aquart is the youngest of the three, only aspiring to join the team she so much admires. When the two eat lunch at McDonald's, Marie tells Anne that she is immature, then leaves the eating establishment. There are no parents or teachers to speak of, no school, and boys are represented by one peripheral figure, the hunky Francois who enters the story determined from time to time and always leaves confused. After a while her appearance grows on you and from certain angles she can come to appear enthralling. Initially, Adele treats Pauline like an irrelevant child, later like a close friend, finally like a potential lover -- and the minute Pauline responds, Adele walks off satisfied. I don't think I want to get into the plot or into its analysis too much, partly because it's suggestive rather than expressed through action, partly because it's complex, and partly because I'm not sure I got it all. But she's not what she seems. She brags unashamedly about her expertise in fellatio. So she takes Pauline to a boite where she dances seductively with some guy until she follows Pauline to the powder room. A superior and self-indulgent narcissist, you know? She's kind of odd looking. Sciamma has made an impressively elegant film and elicited great performances from her young cast; it is beautifully shot by Crystel Fournier, and the poignant note of implied autobiography lingers in the mind. Adele is the girl the others envy.
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