Cast overview, first billed only: | |||
Cécile de France | ... | Carole (as Cécile De France) | |
Izïa Higelin | ... | Delphine Benchiessa | |
Noémie Lvovsky | ... | Monique Benchiessa- la mère de Delphine | |
Jean-Henri Compère | ... | Maurice Benchiessa - le père de Delphine | |
Loulou Hanssen | ... | Françoise | |
Kévin Azaïs | ... | Antoine | |
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Benjamin Bellecour | ... | Manuel |
Laetitia Dosch | ... | Adeline | |
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Sarah Suco | ... | Fabienne |
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Calypso Valois | ... | Charlotte |
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Natalie Beder | ... | Marie-Laure (as Nathalie Beder) |
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Bruno Podalydès | ... | Le professeur Chambard |
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Antonia Buresi | ... | Geneviève |
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Julie Lesgages | ... | Joëlle |
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Benjamin Baroche | ... | Le type qui se fait mettre la main aux fesses |
There was little chance, in the year 1971, that Carole, a Paris Spanish teacher and feminist militant, would ever meet Delphine, the daughter of a couple of Limousin farmers. But they did meet and not only did they come across each other but they fell passionately in love as well. Unfortunately, Delphine's father fell victim to a stroke, and the young woman had no other choice but to go back home to help her mother run the family farm. Carole, who was so smitten by Delphine, couldn't stand the estrangement and decided to join her lover at the farm. But could feminism and lesbianism easily be transferred to the countryside and its standards of the time...? Written by Guy Bellinger
I didn't much care for the first half of 'Summertime': a posse of beautiful, self-confident and middle-class young feminists assert their right to "to as they please" in the Paris of the 1970s. What is absent from the portrayal is any sense of the personal insecurity that cripples most of us; these sisters, it seems, can quite literally do anything for themselves. The film becomes more nuanced when it follows two of its protagonists (a lesbian couple) back to the farm in the country where one of them (Delphine) grew up, and whence she has now been summoned owing to the illness of her father. There's still some idealisation here: the family own their farm and live a simple peasant life. But the conflict between Delphine's familial and spatial sense of identity, and the new relationship she has forged in the city, is nicely portrayed, as is the guarded hostility of her mother and her local acquaintances to the choices she has made in her new life. Overall, it's not nearly as strong as 'Blue is the Warmest Colour', but it grew on me as I watched it.