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In his latest documentary 'Adolescents,' director Sébastien Lifshitz ('The Invisibles') followed two teenage girls in a small French city over a period of five years.
If 2020 was not exactly a banner year for art-house cinema, with festivals either cancelled or relegated to online status and theatrical releases postponed or demoted to streaming sites, this was not necessarily the case for French filmmaker Sébastien Lifshitz, who managed to put out two of his best works by December: the feature documentaries Little Girl and Adolescents , both of which saw distribution and critical acclaim at home.
The former, a bracing portrait of a French trans child named Sasha, born a boy but convinced by the age of 3 that she was a girl, premiered in Berlin back in February (in the last major festival to take place before the pandemic struck) and then played to record audiences on pubcaster/co-producer Arte, which aired it earlier this month.
Adolescents , which premiered in Locarno this past summer (in a festival that was a hybrid of online and local screenings), was released theatrically in early September, scoring nearly 100,000 admissions before French cinemas shuttered in late October. It was supposed to be re-released in mid-December along with several other titles, but then the theaters, which were scheduled to open, never did. Meanwhile, a retrospective of Lifshitz’s documentaries at the Centre Pompidou in Paris, following a show of his amateur photo collection held at the museum in 2019, was also cancelled.
For those who had the chance to see Adolescents on the big screen — this reviewer had to resort to an online link — it must have been a truly rewarding experience. Shot in gorgeously lit widescreen by DPs Antoine Parouty and Paul Guilhaume, the film looks more like a full-fledged fictional feature than a documentary, capturing moments of aesthetic bliss in the lives of two teenage girls, Anaïs and Emma, whom Lifshitz followed for five years, from junior high up through their baccalaureate exams.
Comparisons to Richard Linklater’s 12-year-long narrative Boyhood are evident, and there are times when Adolescents seems like it could have been staged as well, whether it’s the drama Lifhsitz manages to sift out of these true stories or the way he films them so poetically. Per the press notes, the director chronicled his subjects over several two-to-three day visits throughout the five-year-period, working with editor Tina Baz ( The Edge of Democracy ) to whittle down 500 hours of rushes to 135 minutes.
Unlike in his LGBTQ-themed docs ( The Invisibles , Bambi , The Lives of Thérèse ), sexuality is less central to the lives on display this time, even if it lingers in the background and sometimes pops up into the foreground. After all, this is a film about teens growing up in the picturesque if rather dull rural enclave of Brive-la-Gaillarde, in south-central France , where they partake in the same rituals of so many girls their age: dating boys, losing their virginity and spending inordinate amounts of time on their phones.
Yet as much as the characters in Adolescents each go through the throes of sexual discovery in their own way, the film is much more a tale of two very different families living in the same city: Anaïs’ is poor and problem-ridden; Emma’s rich (or else comfortably bourgeois) and stifled.
What’s most telling about Lifshitz’s depiction of these dual trajectories is the way it reveals how social status, especially in a somewhat rigidly class-structured country like France, winds up playing such a pivotal role in each girl’s fate, assuring they will have very divergent futures but never guaranteeing which one of them will be happier.
Indeed, if Anaïs, whose working-class parents face untold hardships, including a fire that destroys their home and a medical emergency that puts her mother in a coma, is definitely the unluckier of the pair, she doesn’t show it often. Forced at a young age to fend for herself, as well as to take care of her baby brother, she opts for a vocational high school that will put her on an early career path — to become a caregiver for either children or senior citizens — and moves out of the house in order to finish her studies.
As difficult as that sounds, Anaïs is constantly surrounded by friends, has at least one major boyfriend with whom she breaks up, resulting in much heartache, and has a seriously active social life that sometimes gets in the way of her school work. But by the time she’s ready to graduate, she already seems like an adult — one who appears to be more mature than her parents, especially her emotionally unbalanced mother.
Emma, on the other hand, has everything a girl needs to get by, at least on the surface: a beautiful home nestled in the countryside, a mother who’s constantly on top of her about homework — this is the source of much contention between them, as well as many of the film’s more hilarious fight scenes — and a Teen Vogue -style face and figure that could prove helpful in her quest to becoming an actress. (In contrast, Anaïs battles with weight issues on and off throughout the movie.)
And yet, Emma may be one of the sulkiest teenagers ever seen on screen. (The French expression for sulking, which is to faire la gueule — literally “to make the face” — seems appropriate in her case.) She never seems happy with anything, especially her mom, who, granted, is ultra annoying and highly disapproving, constantly criticizing Emma’s every move, yet doesn’t seem deserving of the wrath her daughter unleashes upon her. And while Emma has a few friends with whom she sometimes goes clubbing, she doesn’t seem to want a boyfriend and views sex as something she needs to do without being able to enjoy. “I don’t like being touched,” she revealingly says at one point.
Lifshitz never passes judgement on either girl — far from it. But his film does have you draw your own conclusions about two people who let him into their lives for so long, capturing some very dark moments, some very pleasant ones and the kind of mundanity that we all live with from day to day.
Adolescents also steps back to reveal the bigger events that will shape its subjects throughout these pivotal years, especially the Charlie Hebdo and Bataclan terrorist attacks, whose ripple effects were felt throughout France. When the 2017 presidential elections roll their way, Anaïs and her dad are fully behind far-right candidate Marine Le Pen, while Emma’s parents support centrist (or whatever you want to call him) favorite Emmanuel Macron, further underlining how far apart their worlds are.
If Anaïs ultimately suffers much more trauma than Emma throughout the film, she also seems to have blossomed into a fully grown woman by the time she’s 18 and heads off to Limoges to continue her work-study program. Emma, who’s been coddled at home and often looks quite lonely — there’s a telling sequence of her skateboarding solo through the empty streets of Brive — seems to have a lot more growing to do by the end, when she makes her way to Paris.
And yet what the two have in common, beyond the late scenes they spend together reminiscing about their junior high school days, even as they’re lives have become almost diametrically opposed, is what they’ve each managed to lose along the way to adulthood. Whether joyful like Anaïs or a bit stolid like Emma, their faces have hardened by the time they’re ready to go their separate ways, as if they’ve finally begun to realize what life is all about. Lifshitz portrays these last moments spent together with a mix of melancholy and grace, which is as good a definition of adolescence as any.
Production company: Agat Films & Cie Director: Sébastien Lifshitz Producer: Muriel Meynard Cinematographers: Antoine Parouty, Paul Guilhaume Editor: Tina Baz
Composer: Tindersticks Sales: The Party Film Sales 
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In the summer of 1939, 13-year-old Marie goes with her parents to visit her grandmother in a small town near Avignon. Although rumors of war reach the countryside, it's an idyllic place, and... Read all In the summer of 1939, 13-year-old Marie goes with her parents to visit her grandmother in a small town near Avignon. Although rumors of war reach the countryside, it's an idyllic place, and Marie's parents are constantly making love. Surrounded by sexual frankness, Marie fancies... Read all In the summer of 1939, 13-year-old Marie goes with her parents to visit her grandmother in a small town near Avignon. Although rumors of war reach the countryside, it's an idyllic place, and Marie's parents are constantly making love. Surrounded by sexual frankness, Marie fancies herself a woman and develops a crush on Alexander, the town's young Jewish doctor, and is... Read all
Young girl experiences adolescent love
Just before World War II, a 12-year-old girl leaves Paris with her parents for a summer vacation in the country. Instead of playing with her friends there, she develops an adolescent (hence the film's title) infatuation with a 30-year-old doctor that has recently joined the village. The older man, understandably, does not return her affections but instead manifests an even less-advised interest in the girl's Dutch mother.
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From Wikipedia, the free encyclopedia

^ "Los Adolescentes (1968)" . julissa.com . Retrieved 13 November 2011 .

^ Margaret Herrick Library, Academy of Motion Picture Arts and Sciences


The Adolescents ( Spanish : Los adolescentes ) is a 1968 Mexican drama film directed by Abel Salazar . [1] The film was selected as the Mexican entry for the Best Foreign Language Film at the 40th Academy Awards , but was not accepted as a nominee. [2]

This article related to a Mexican film of the 1960s is a stub . You can help Wikipedia by expanding it .
This 1960s drama film–related article is a stub . You can help Wikipedia by expanding it .

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Emma et Anaïs sont inséparables et pourtant, tout les oppose. Adolescentes suit leur parcours depuis leur 13 ans jusqu’à leur majorité, cinq ans de vie où se bousculent les transformations et les premières fois. A leur 18 ans, on se demande alors quelles femmes sont-elles devenues et où en est leur amitié. A travers cette chronique de la jeunesse, le film dresse aussi le portrait de la France de ces cinq dernières années.


Sébastien Lifshitz à propos de son documentaire au long cours, "Adolescentes"

Avec 7 César, dont Meilleur Film et Meilleur Réalisateur, "Adieu les cons" est le grand gagnant de cette 46ème cérémonie.
Les femmes sont à l’honneur sur CANAL+. A l’occasion de la journée du 8 mars, la chaîne diffuse un spot rendant hommage…
Après un mois tout en cinéma, le jury de MyFrenchFilmFestival vient de révéler les noms des gagnants de cette 11e édition…
Les nominations des César viennent d'être dévoilées. Découvrez comment voir les films nommés.

Le nouveau film de Sébastien Lifshitz prouve une nouvelle fois l'extraordinaire puissance de la forme documentaire, quand elle est ainsi irriguée par des personnalités aussi riches que celles d'Emma et d'Anaïs.
Les deux jeunes filles sont cueillies dans leur années de troisième, et accompagnées jusqu'au bac, pendant cinq ans.
Cette longue période résumée en deux heures de film, pendant laquelle les deux filles deviennent des jeunes ...

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Pendant cinq ans, le documentariste Sébastien Lifshitz a suivi Emma et Anaïs, deux adolescentes de Brive-la-Gaillarde. De la quatrième à la terminale, il a filmé leurs vies, en cours avec leurs camarades, chez elles avec leurs parents, pendant leurs loisirs…
Depuis que sa sortie avait été annoncée le 25 mars, j’attendais avec une sourde impatience "Adolescentes". Pour deux raisons.
La première est la grande estime dans laquelle je ...

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Sur une idée de documentaire plus très originale aujourd’hui mais toujours passionnante - filmer des individus sur une longue durée - le réalisateur manque en partie sa cible. On comprend qu’il a dû choisir parmi des dizaines d’heures de rushs, les images qui convenaient le mieux à l’histoire qu’il voulait nous raconter. La subjectivité du réalisateur qui, il faut le reconnaître toutefois, reste toujours respectueux de ses ...

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Une fresque contemporaine à la fois intime et politique de deux adolescentes dans la France des attentats, de Macron et des inégalités sociales. On découvre leurs parcours scolaires, leurs premières fois et leurs relations familiales avec la gamme d'émotions qui va avec : le rire, les larmes, les peurs, les craintes, les colères, les joies...Un vrai chef d'oeuvre !


Au départ, Sébastien Lifshitz envisageait de suivre un garçon : « j’imaginais un peu bêtement qu’un regard masculin sur une jeune fille serait perturbant pour elle, surtout à un âge où le corps change autant. Mais en faisant les castings et lors de la préparation du film, tout a changé et mon intérêt s’est soudain porté non pas sur une, mais sur deux filles ! » Ses interlocuteurs lui ont fait remarquer que les filles avaient p
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Désireux de s’éloigner de l’archétype qui fait coïncider adolescence et banlieue, le réalisateur a choisi de poser sa caméra dans une ville de province « un peu neutre et dormante ». Brive, sous-préfecture de la Corrèze de 50 000 habitants, s’est imposée d’emblée. Le passage des saisons y est par ailleurs très marqué, ce qui permettait de filmer aisément le passage du temps, qui représente une part importante du projet.


Emma et Anaïs, les deux protagonistes d’Adolescentes, n’ont pas grand-chose en commun, tant au niveau social que psychologique. Lorsqu’il a appris que non seulement elles fréquentaient le même collège, mais qu’en plus elles étaient très amies, Sébastien Lifshitz a décidé de dériver de son projet et de s’intéresser à leur amitié à l’épreuve du temps. Quant à leurs parents, ils ont facilement consenti au tournage : « Ils ont compris
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Récompenses

4 prix et 3 nominations


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ados, ados, elles en ont à apprendre de leur vécu.En regardant, mais où les ont ils trouvées???le milieu familial et les parents sont hors du commun à faire peur et elles s'en sortent, le film est un docu long qui nous repei
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