When you watch this feature, you think of LA VIE D'ADELE, speaking of the same scheme, female homosexuality. This film is gripping at the most, telling us the story of two Young women who met in Paris during the early seventies, when the feminist movements spread all over the world. And don't forget that two years ago, in France, the marriage for everyone laws were on every lip. So it remains in the line of actuality. Cecile de France is terrific here, so is Noémie Chowsky, as the mother of one of the two women in love for each other. A human drama that grabs you from the start to the end. I highly recommend it. Catherine Corsini made here an outstanding piece of work.
15 Reviews
Great Period piece from French cinema
t-dooley-69-38691628 September 2016
'La Belle Saison' is set in 1971 when women were asserting their rights – as indeed a lot of folk were doing the same to a world that was not really ready. This is set against the lives of Delphine from a rural farming family. She escapes to Paris where she happens to cross paths with the fiery Carole (Cécile de France – 'Meserine').
Then amidst the heady cocktail of feminism, liberation and radical politics they expressed themselves sexually – which of course was revolutionary. Yes they set about challenging the heterosexual orthodoxy - and found more than just a political statement in that they fell for each other.
Now there is tons more to this inspiringly brilliant film. It is made in such a way that the characters come alive and are completely believable. All the performances are outstanding and the period detail is really good too. The hair and fashions as well as the vehicles are spot on – and some nice Janis Joplin songs on the soundtrack too. There is so much here to like that it is a very easy job to recommend.
Then amidst the heady cocktail of feminism, liberation and radical politics they expressed themselves sexually – which of course was revolutionary. Yes they set about challenging the heterosexual orthodoxy - and found more than just a political statement in that they fell for each other.
Now there is tons more to this inspiringly brilliant film. It is made in such a way that the characters come alive and are completely believable. All the performances are outstanding and the period detail is really good too. The hair and fashions as well as the vehicles are spot on – and some nice Janis Joplin songs on the soundtrack too. There is so much here to like that it is a very easy job to recommend.
To be able to be who you are
dakjets8 September 2020
LGBT rights are more relevant than ever. In several countries, unfortunately, the trend is towards more difficult living conditions for gays and transgender people. Seen in such a perspective, the plot of this film remains relevant, despite the fact that it depicts a summer in 1971.
Although perhaps the problem here is something we have seen in many films, the film is experienced as both engaging and well told.
I sat thinking when I saw this movie; how many such fates exist? Both before and now? That people cannot live their lives to the fullest, in fear of condemnation from their surroundings. There are probably a lot of them, and in that way such films become important and unfortunately relevant. For such films we need. We need to be reminded of how the world treats and views queer people. In addition to a strong and pointed action, the film is also beautifully filmed, well directed and with good actors who get both convincing and engaging.
... And The Livin' Is Sleazy
writers_reign16 July 2016
Warning: Spoilers
to paraphrase the opening lullaby from Porgy and Bess. The folk opera written by George Gershwin, his brother Ira, and DuBose Heyward, author of the novel on which the show was based, opened on Broadway in 1935 but coincidentally an 'adult' play, The Children's Hour, by Lillian Hellman opened on Broadway and the 'adult' theme was the accusation (false) by a malicious schoolgirl that the two unmarried young women who owned the private school were engaged in an active lesbian relationship. 80 years later women are in the provinces are still not allowed to display sexual affection openly and that is the main thrust of this excellent film. For me, a heterosexual male the selling point was third-billed Noemie Lvovsky as the mother of one of the two female lovers followed by Cecile de France whom I had seen only in ingenue-type roles. The key to the film was the time it was set, 1971, when 'feminist' activists were making a noise world-wide but farmer's daughter Izia Higelin is in no position to express feelings about anything in Limousin so she moves to Paris and in nothing flat is heavily involved in women's lib and in nothing flatter she seduces a leader of the movement, Cecilde de France, who, as it happen, is in a relationship (they share a home) with a man. It's not, of course, much of a problem to maintain an all-female relationship in Paris but that would be too easy so when the farmer suffers a stroke his more than able-bodied daughter moves back to Limousin to run the farm. Cecile de France, now in way over her head, follows her and they continue the passionate affair clandestinely. This is a very lyrical film with gorgeous shots of the country around Limousin and farming activities like haymaking designed to enhance the unorthodox story. It ends in tears, natch, but it is a journey well worth sharing with the protagonists.
Feminism and forbidden love in rural 70s France
skypaddler31 March 2020
This is a sensitive portrayal of two women from different backgrounds in conservative, rural France. Delphine, a country girl in Paris is introduced to feminism at a time (1971) shortly after the student riots in Paris, the bra-burning feminism of late 60s USA, and the teen-led cultural revolution in music, art and fashion. Paris was a world away from her farm in the Limousin. It is a film about feminism and lesbianism with strong female leads directed by an experienced female director who was, herself, a teenager at the time the film was set. As such it is authentic and tender, not titillating. It is a film about relationships, between Delphine and her mother, her Parisian girlfriend, the boy she is expected to marry and above all the conflict between the city and the country.
It is a film that could only be made in Europe and only set in the 70s and was justifiably nominated for a Lumiere, France's equivalent to the Golden Globes. Jellybeansucker should stick to sucking jelly beans and watching simplistic action movies. This is for those who prefer content to pace.
It is a film that could only be made in Europe and only set in the 70s and was justifiably nominated for a Lumiere, France's equivalent to the Golden Globes. Jellybeansucker should stick to sucking jelly beans and watching simplistic action movies. This is for those who prefer content to pace.
A beautifully engaging film, which is very much aimed at celebrating feminism in seventies France, amidst a backdrop of constricting bourgeois beliefs.
gaby-1910511 April 2017
Warning: Spoilers
A beautifully engaging film, which is very much aimed at celebrating feminism in seventies France, amidst a backdrop of constricting bourgeois beliefs.
The movie gives us an insight into the struggles for equal rights faced by women at the time, and is very much aimed at celebrating female empowerment centered around a beautifully engaging love story between the two main characters. There is undeniably a strong chemistry between both the central characters which engrosses the audience, from the moment they meet.
Although rural girl Delphine (Izia Higelin) has known she is gay from a young age, traditional conformist views have kept her sexuality a secret, knowing it would tear her family apart, she is very much expected to follow the traditional path of working on the family farm, and marrying a local boy. This is contrasted with the free spirit of city dweller Carole (Cecile De France), who is very much fighting for female empowerment and equal rights.
Delphine takes time away from the farm, after the break-up of yet another secret relationship with a local girl and moves to Paris. The two meet after Delphine saves Carole from a scuffle with a man on the streets, all in the name of women's rights, and so commences their beautiful, yet tragic love story.
We get to glimmer into this beautiful relationship whilst they are in Paris, where for the first time in her life, Delphine can be open about who she really is. Delphine is mesmerized by Carole's free spirit, never imagining that women could have so much freedom and can be so outspoken, as she joins Carole and other women protesting for equality in a women's rights group. Carole is drawn in by the go-getting, determined charisma of Delphine, which we see when she leads the way on a group mission to set free a young man who has been put in a mental asylum by his parents for treatment for being gay.
However, tragedy strikes, and just as their love affair begins it is quickly turned into turmoil. Under tragic circumstances Delphine is forced back to her farm due to her father's ill health. Carole realizes she cannot be without Delphine, and leaves everything behind, including a long-term relationship with her boyfriend to join her on the farm.
On arrival to Delphine's village, Carole finds a contradictory life to what she has been so passionately fighting for in Paris. She finds herself constrained by traditional village views, and their love affair is forced underground, behind Delphine's mothers back, whilst she takes up a job helping her "friend" run the family farm.
Much of the story is set in rural France surrounded by stunning landscapes, which director Catherine Corsini has captured beautifully. In the midst of this spectacular scenery there is a rather tragic undertone with the characters struggling to come to terms with who they really are thanks to conservative and conventional society views at the time. You can really sense Carole's frustration, as she tries to conform with the rural way of life, yet internally she is screaming to expose their relationship to the world.
The heart-breaking fact is Delphine has always known who she is really is, and whilst she helped open Carole's eyes, she cannot break the constraints and judgments of her own family and therefore these very constrictions end up costing her, her relationship with Carole.
The film ends with Delphine not willing to leave behind her family and farm and go with Carole after their love affair becomes public knowledge, and Delphine's mother throws her out the house. She cannot break free from the constraints of family tradition and is left with a heart-rending internal battle.
This is an extremely thought provoking film, and after willing Delphine to take the leap with Carole, despite knowing her mother would be left unable to cope with the family farm; we are left in a somewhat state of anguish as the film is drawing to a close. We are left with the realization that this beautiful love story has succumbed to conformist beliefs.
Fast forward five years and Carole goes on eventually to meet another woman and settles back into Parisian life, whilst Delphine eventually musters up the courage to acquire her own farm and leave her family.
The movie gives us an insight into the struggles for equal rights faced by women at the time, and is very much aimed at celebrating female empowerment centered around a beautifully engaging love story between the two main characters. There is undeniably a strong chemistry between both the central characters which engrosses the audience, from the moment they meet.
Although rural girl Delphine (Izia Higelin) has known she is gay from a young age, traditional conformist views have kept her sexuality a secret, knowing it would tear her family apart, she is very much expected to follow the traditional path of working on the family farm, and marrying a local boy. This is contrasted with the free spirit of city dweller Carole (Cecile De France), who is very much fighting for female empowerment and equal rights.
Delphine takes time away from the farm, after the break-up of yet another secret relationship with a local girl and moves to Paris. The two meet after Delphine saves Carole from a scuffle with a man on the streets, all in the name of women's rights, and so commences their beautiful, yet tragic love story.
We get to glimmer into this beautiful relationship whilst they are in Paris, where for the first time in her life, Delphine can be open about who she really is. Delphine is mesmerized by Carole's free spirit, never imagining that women could have so much freedom and can be so outspoken, as she joins Carole and other women protesting for equality in a women's rights group. Carole is drawn in by the go-getting, determined charisma of Delphine, which we see when she leads the way on a group mission to set free a young man who has been put in a mental asylum by his parents for treatment for being gay.
However, tragedy strikes, and just as their love affair begins it is quickly turned into turmoil. Under tragic circumstances Delphine is forced back to her farm due to her father's ill health. Carole realizes she cannot be without Delphine, and leaves everything behind, including a long-term relationship with her boyfriend to join her on the farm.
On arrival to Delphine's village, Carole finds a contradictory life to what she has been so passionately fighting for in Paris. She finds herself constrained by traditional village views, and their love affair is forced underground, behind Delphine's mothers back, whilst she takes up a job helping her "friend" run the family farm.
Much of the story is set in rural France surrounded by stunning landscapes, which director Catherine Corsini has captured beautifully. In the midst of this spectacular scenery there is a rather tragic undertone with the characters struggling to come to terms with who they really are thanks to conservative and conventional society views at the time. You can really sense Carole's frustration, as she tries to conform with the rural way of life, yet internally she is screaming to expose their relationship to the world.
The heart-breaking fact is Delphine has always known who she is really is, and whilst she helped open Carole's eyes, she cannot break the constraints and judgments of her own family and therefore these very constrictions end up costing her, her relationship with Carole.
The film ends with Delphine not willing to leave behind her family and farm and go with Carole after their love affair becomes public knowledge, and Delphine's mother throws her out the house. She cannot break free from the constraints of family tradition and is left with a heart-rending internal battle.
This is an extremely thought provoking film, and after willing Delphine to take the leap with Carole, despite knowing her mother would be left unable to cope with the family farm; we are left in a somewhat state of anguish as the film is drawing to a close. We are left with the realization that this beautiful love story has succumbed to conformist beliefs.
Fast forward five years and Carole goes on eventually to meet another woman and settles back into Parisian life, whilst Delphine eventually musters up the courage to acquire her own farm and leave her family.
Lyrical, but not quite real
paul2001sw-12 March 2020
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.
Le bonheur est dans le pré
frukuk23 September 2019
An enjoyable film, with some great performances; but less travelled country roads should be rather more bumpy.
While a far from novel story, the three female leads (Izïa Higelin, Cécile de France and Noémie Lvovsky) give pitch perfect performances.
Where this film falls down is in giving the two lovers, far too smooth a ride. If you're fighting for freedom, surely the establishment would offer far more resistance? Here, the revolutionaries hardly seem to experience any push-back. There's one bump in the road, but that's really it.
While a far from novel story, the three female leads (Izïa Higelin, Cécile de France and Noémie Lvovsky) give pitch perfect performances.
Where this film falls down is in giving the two lovers, far too smooth a ride. If you're fighting for freedom, surely the establishment would offer far more resistance? Here, the revolutionaries hardly seem to experience any push-back. There's one bump in the road, but that's really it.
French lesbian film
SnoopyStyle22 November 2022
It's 1971 France. Delphine Benchiessa (Izïa Higelin) works at her family's rural farm. Her father berates her for being too slow to find a man. Unbeknownst to him, she's a lesbian. Her girlfriend surprises her by marrying a local boy. In Paris, she gets caught up with a group of militant feminists. She falls for their leader Carole (Cécile de France). After her father suffers a stroke, Delphine is forced to go home and take care of the farm.
It's another version of the tragic lesbian love story. I do wonder if 1971 France is a little too late to have this story. Usually, it's Victorian ladies on a gravel beach trying to discover lesbianism. In reality, rural conservatism and family dynamics do account for it. These ladies are not ignorant of the world. The 70's is not all disco and gay. It's still a fight for rights and acceptance. The danger isn't as high, and the story becomes smaller. Delphine could always run off and abandon the farm. It's not like society prevents her from getting a job in Paris. The issue becomes more internal and personal. It's a relationship movie.
It's another version of the tragic lesbian love story. I do wonder if 1971 France is a little too late to have this story. Usually, it's Victorian ladies on a gravel beach trying to discover lesbianism. In reality, rural conservatism and family dynamics do account for it. These ladies are not ignorant of the world. The 70's is not all disco and gay. It's still a fight for rights and acceptance. The danger isn't as high, and the story becomes smaller. Delphine could always run off and abandon the farm. It's not like society prevents her from getting a job in Paris. The issue becomes more internal and personal. It's a relationship movie.
The Beautiful Season
JamesHitchcock19 May 2022
The film, set in 1971, tells the story of the lesbian relationship between Delphine, a farmer's daughter, and Carole, a feminist activist, who meet when Delphine moves to Paris. This does not, however, mean that Delphine is an innocent country girl seduced by the more sophisticated Parisian older woman. It is the exclusively lesbian Delphine who is more experienced than the bisexual Carole- indeed, Carole's previous relationships have all been with men, and she has a boyfriend at the time when she meets Delphine.
Things change when Delphine's father Maurice has a stroke and Delphine, an only child, is forced to return to help her mother Monique run the farm. Carole follows her, but they quickly realise that pursuing their relationship in the countryside will not be easy. In the cosmopolitan atmosphere of Paris, at least in the radical circles in which Carole and Delphine move, lesbianism is widely accepted. In "La France Profonde" it is not. Delphine's parents have no idea that she is a lesbian, although some people in the area are beginning to suspect, and they believe that she will marry Antoine, a local boy who is interested in her.
The climax of the film comes when Monique finds Delphine and Carole in bed together. Believing that the older woman has corrupted her daughter, Monique angrily orders Carole to leave her house and never return. Delphine must decide where her future lies. This is not simply a question of deciding between her love for Carole and her loyalty to her family. Delphine has also realised that she loves the countryside, rural traditions and the life of the farm. She therefore also has to decide between her love for Carole and the profession and lifestyle in which she feels most comfortable. I won't give away the ending by revealing which choice she makes.
The film was shown in Britain as "Summertime", but I prefer the original French title "La Belle Saison", partly to avoid confusion with the David Lean film from 1955 with Katharine Hepburn, partly because it seems to me to have more layers of meaning. The romance between Delphine and Carole can be seen as the "beautiful season" of their lives; perhaps the so-called "sexual revolution" of the late sixties and early seventies also seemed like a "beautiful season" to those who lived through it.
Being a heterosexual British male, I am probably not the demographic at which a French lesbian-feminist film is aimed, but I must say that I enjoyed "La Belle Saison". When you can see past some of its preaching, especially on the abortion issue, it emerges as a very good film. Both the lead actresses, Cécile de France and Izïa Higelin, play their parts very well, and the attractive photography of the French countryside- it was shot in the Limousin- give it something of the look of a British "heritage cinema" drama. The period angle reminds us that the past- even the relatively recent past within my own lifetime- is (as L P Hartley said) another country where they do things differently. One likes to think that fifty years on things would be easier for Delphine and Carole than they were in 1971. Perhaps in France, even rural France, they would be, but in some parts of the world I am not so sure. The film reminded me of a recent British film, "Tell It to the Bees", another period drama (in that case set in the fifties) about a lesbian couple confronted with a difficult life choice. Like that film, "La Belle Saison" is a sensitively made, well-acted human drama and a plea for tolerance. 7/10.
Things change when Delphine's father Maurice has a stroke and Delphine, an only child, is forced to return to help her mother Monique run the farm. Carole follows her, but they quickly realise that pursuing their relationship in the countryside will not be easy. In the cosmopolitan atmosphere of Paris, at least in the radical circles in which Carole and Delphine move, lesbianism is widely accepted. In "La France Profonde" it is not. Delphine's parents have no idea that she is a lesbian, although some people in the area are beginning to suspect, and they believe that she will marry Antoine, a local boy who is interested in her.
The climax of the film comes when Monique finds Delphine and Carole in bed together. Believing that the older woman has corrupted her daughter, Monique angrily orders Carole to leave her house and never return. Delphine must decide where her future lies. This is not simply a question of deciding between her love for Carole and her loyalty to her family. Delphine has also realised that she loves the countryside, rural traditions and the life of the farm. She therefore also has to decide between her love for Carole and the profession and lifestyle in which she feels most comfortable. I won't give away the ending by revealing which choice she makes.
The film was shown in Britain as "Summertime", but I prefer the original French title "La Belle Saison", partly to avoid confusion with the David Lean film from 1955 with Katharine Hepburn, partly because it seems to me to have more layers of meaning. The romance between Delphine and Carole can be seen as the "beautiful season" of their lives; perhaps the so-called "sexual revolution" of the late sixties and early seventies also seemed like a "beautiful season" to those who lived through it.
Being a heterosexual British male, I am probably not the demographic at which a French lesbian-feminist film is aimed, but I must say that I enjoyed "La Belle Saison". When you can see past some of its preaching, especially on the abortion issue, it emerges as a very good film. Both the lead actresses, Cécile de France and Izïa Higelin, play their parts very well, and the attractive photography of the French countryside- it was shot in the Limousin- give it something of the look of a British "heritage cinema" drama. The period angle reminds us that the past- even the relatively recent past within my own lifetime- is (as L P Hartley said) another country where they do things differently. One likes to think that fifty years on things would be easier for Delphine and Carole than they were in 1971. Perhaps in France, even rural France, they would be, but in some parts of the world I am not so sure. The film reminded me of a recent British film, "Tell It to the Bees", another period drama (in that case set in the fifties) about a lesbian couple confronted with a difficult life choice. Like that film, "La Belle Saison" is a sensitively made, well-acted human drama and a plea for tolerance. 7/10.
Usual French excuse for a bit of sex and nudity
Jellybeansucker17 September 2019
Another sensual portrait of intimacy by the French, with lots of sex and nudity. What a surprise. They're obsessed. This time a passionate lesbian affair is given the full on French movie treatment of a thin and contrived story line to support the main event, as it often is in French movies - sex and nudity. Once the plot line leads us there, it's off with the token backstory, the majority of the cast and of course the clothes. All tastefully done in nice surroundings near to nature - it's Art, you see. (Oh yeah?)
It's directed and written by a woman, which is blaringly obvious all the way through, it has that exclusively intimate aura that shouts 'Women are far more sensual and better at love than men, as you can see here.' The upside is the two leads are very good looking, well you'd probably want that as a producer to sell more tickets and DVDs wouldn't you. Good committed acting too, it has to be said. Highly predictable and typically titillating French film fayre that will probably bring that pause button into play. Watch with a bottle of fruity French wine.
It's directed and written by a woman, which is blaringly obvious all the way through, it has that exclusively intimate aura that shouts 'Women are far more sensual and better at love than men, as you can see here.' The upside is the two leads are very good looking, well you'd probably want that as a producer to sell more tickets and DVDs wouldn't you. Good committed acting too, it has to be said. Highly predictable and typically titillating French film fayre that will probably bring that pause button into play. Watch with a bottle of fruity French wine.
Summertime takes 'Blue is the Warmest Colour' to the countryside.
aadarshstha-925658 June 2021
Watching this film in the start of 'pride month.'
Summertime is an engaging love story in the 70's. This is a very sensitive portrayal of two women from different backgrounds in conservative, rural France. Set in the early 70s in the first flush of modern feminism, the plot is pretty simple and the issue simpler - will they stay together against the pressures of rural society? The film is very realistic as it deals with woman rights and also portrays the societal views on lesbian culture in the 70's. This is a very good representation of LGBTQ in the films.
As I was watching this film, I was very much reminded of another French film, "Blue is the Warmest Colour" which also deals with similar theme of lesbianism. I really love 'Blue is the Warmest Colour' and is my favourite romance film. However, this film is also a good film with good themes and lesbian representation. This film shows how it is to be a lesbian in a rural France in the 70's, how the society thinks of a girl involving with another girl.
Overall, it's a pretty good film which portrays a really interesting subject matter.
As I was watching this film, I was very much reminded of another French film, "Blue is the Warmest Colour" which also deals with similar theme of lesbianism. I really love 'Blue is the Warmest Colour' and is my favourite romance film. However, this film is also a good film with good themes and lesbian representation. This film shows how it is to be a lesbian in a rural France in the 70's, how the society thinks of a girl involving with another girl.
Overall, it's a pretty good film which portrays a really interesting subject matter.
Sensibilities collide
SB10021 August 2020
This story of a relationship between a farmer's daughter and the woman she meets in Paris is effective in some ways. Set in the early 70s in the first flush of modern feminism, the plot is pretty simple and the issue simpler - will they stay together against the pressures of rural society? Izia Hegelin makes an effective and believable daughter of the soil, struggling to reconcile her feelings and her ties to her land and family; in an underwritten role as her lover, Cecile de France is less effective but does her best. Some good scenes showing the sometimes silly behaviour of activists and their disconnect from real life. The ending seemed slightly unlikely to me in some ways. There are sex scenes but they are neither very erotic nor graphic. So - worth seeing, but only a moderately good film.
Enjoyable but...
dcarroll7422 September 2022
I had an idea what this movie was about so, I delved into it. Unlike most movie viewers, I have no problems with watching what would be called, foreign movies, me being Irish and living in Ireland.
Just because a movie is in English, doesn't make it good. And, just because a movie is in one of the other 200+ languages, doesn't make it bad.
On the whole, the movie was good, if a little haphazrd. At times, while the mainstream of the movie was upheld, the sides were all over the place. This didn't help to create a coherent narative.
What caused it to lose, on a personal basis was, the penultimate scene at the railway station.
Why were the two main characters standing on the wrong platfrom? Then, the focal character runs over the platform bridge, to arrive at the "correct" platform, when both are supposed to be "running away"?
So many faults, in a short period of time, took away from the overall raison d'etre of the movie. At least there is comfort in that, the time difference between the release of the movie, and the era it portrayed, and now, 2022: what the movie was puporting, is in fact, a reality, for many, today.
Just because a movie is in English, doesn't make it good. And, just because a movie is in one of the other 200+ languages, doesn't make it bad.
On the whole, the movie was good, if a little haphazrd. At times, while the mainstream of the movie was upheld, the sides were all over the place. This didn't help to create a coherent narative.
What caused it to lose, on a personal basis was, the penultimate scene at the railway station.
Why were the two main characters standing on the wrong platfrom? Then, the focal character runs over the platform bridge, to arrive at the "correct" platform, when both are supposed to be "running away"?
So many faults, in a short period of time, took away from the overall raison d'etre of the movie. At least there is comfort in that, the time difference between the release of the movie, and the era it portrayed, and now, 2022: what the movie was puporting, is in fact, a reality, for many, today.
This is European cinema!
Diabolique6919 June 2023
This is the difference between European & Hollywood studios. Spot the differences for instance, between this masterpiece and Carol.
Realistic approach, realistic characters, realistic styling!! Of course styling! Look how exaggerated Carol is in terms of depiction of the period and of styling. Pls do not misunderstand me, I do not like to underestimate Carol, but just to compare the two different procedures of cinematography!
The story is so real that you agonize along with the obstacles the characters have to get by!
Amazing piece of work, totally recommended! All the characters are so real-to-life!
Realistic approach, realistic characters, realistic styling!! Of course styling! Look how exaggerated Carol is in terms of depiction of the period and of styling. Pls do not misunderstand me, I do not like to underestimate Carol, but just to compare the two different procedures of cinematography!
The story is so real that you agonize along with the obstacles the characters have to get by!
Amazing piece of work, totally recommended! All the characters are so real-to-life!
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