Controversial Foreign Coming Of Age Movies

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Controversial Foreign Coming Of Age Movies
The Top 6 French Coming-of-Age Movies
First published: June 22, 2009
by France Today Editors 
In France, the complex teenage years are sometimes called l’âge bête , the stupid age. These coming-of-age films portray succeeding generations of French teenagers.
1920s Le Blé en Herbe (The Game of Love) Claude Autant-Lara, 1954
Childhood friends Phil (Pierre-Michel Beck), 16, and Vinca (Nicole Berger), 15, fall in love one summer, but don’t know how to deal with their new feelings and desires. Phil meets an older woman (Edwige Feuillère) who takes it upon herself to initiate him sexually, with devastating consequences for the young couple. Set in the early 1920s, the film is based on a novel by Colette. It was considered scandalous upon its release and banned in some towns in France for its open evocation of sexuality.
1950s A Nous les Petites Anglaises (Let’s Get Those English Girls) Michel Lang, 1976
A hilarious comedy set in 1959. After failing their baccalauréat (high school graduation exam), Alain and Jean-Pierre are sent by their parents to spend the summer living with British families. The two teenage boys are much more interested in girls, but they soon learn that improving their English can help their seduction skills.
1960 s Diabolo Menthe (Peppermint Soda), Diane Kurys, 1977
This autobiographical first film follows two Jewish teenage sisters during the 1963 school year in Paris, as 13-year-old Anne (Eléonore Klarwein) and 15-year-old Frédérique try to make sense of the changes happening inside themselves and in the society around them. As they discover love, the value of friendship and political awareness, they begin to construct their womanhood. Acclaimed by both critics and audiences, Diabolo Menthe won the coveted Prix Louis Delluc.
1970s Une Vraie Jeune Fille (A Real Young Girl) Catherine Breillat, 1976
Catherine Breillat’s provocative first film, based on her fourth novel, was made in 1976 but not released until 1999. It centers on her favorite theme: the hidden side of female sexuality. Fourteen-year-old Alice returns from boarding school to her parents’ farm for the summer holidays. Increasingly aware of her sexual feelings, she indulges in erotic daydreams and finally seduces one of her father’s employees. The sexually explicit scenes foreshadow the daring style of director Breillat, who has become one of France’s most controversial filmmakers.
1980s La Boum (The Party) Claude Pinoteau, 1980
The film follows Vic (Sophie Marceau in the role that made her an instant star), age 13, as she goes through the joy and pain of her first romance while her parents (Claude Brasseur and Brigitte Fossey) experience their own emotional turmoil. Two long party scenes ( boums ), highlights of this joyful and charming film, perfectly capture the essence of teenage life in the 1980s. After the movie’s phenomenal success, Pinoteau directed a sequel, La Boum 2 , in 1982.
2000s LOL (Laughing Out Loud) Lisa Azuelos, 2008
This enjoyable comedy that parallels La Boum stars Sophie Marceau, almost 30 years after her debut, this time as the mother. We follow Lola (newcomer Christa Theret) through her first love, her friendships and her boums , as her mother Anne navigates her own chaotic love life. But we also see how things have changed since the 1980s: Anne is divorced, Lola and her friends casually smoke pot (as does her mom), the relationship between Lola and her parents is more frank, cell phones and computers are the essentials of teenage communication…. Times have changed, but the emotions are the same.
TIED FOR SEVENTH! La Gifle (The Slap) Claude Pinoteau, 1974. Comedy/drama.
La Drôlesse (The Hussy) Jacques Doillon, 1979. Comedy/drama.
36 Fillette (Junior Size 36) Catherine Breillat, 1988. Drama/comedy.
La Petite Voleuse (The Little Thief) Claude Miller, 1988. Drama.
La Vie Ne Me Fait Pas Peur (Life Doesn’t Scare Me) Noémie Lvovsky, 1999. Comedy.
Les Filles Ne Savent Pas Nager (Girls Can’t Swim) Anne-Sophie Birot. 2000. Drama.
Ma Vraie Vie à Rouen (My Life on Ice) Olivier Ducastel, Jacques Martineau, 2002. Comedy/drama.
A Ma Soeur! (Fat Girl) Catherine Breillat, 2001. Drama.
Et Toi, T’es sur Qui? (Just About Love?) Lola Doillon, 2007. Comedy.
Naissance des Pieuvres (Water Lilies) Céline Sciamma, 2007. Drama.
Soit Je Meurs, Soit Je Vais Mieux (Dying or Feeling Better) Laurence Ferreira Barbosa, 2008. Drama.
Entre Les Murs (The Class) Laurent Cantet, 2008. Drama.
Find French films in our France Today bookstore .
Originally published in the May 2009 issue of France Today
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The coming-of-age genre is a cinema of first times; moments that, once experienced, can never be replicated with the same knotted sensation of yearning, timidity, and joy. These are films that fulfill our desire to reclaim experience from memory – to relive, in another body, those formative encounters which first ushered us into adulthood.
Unsurprisingly, the genre presents rich subject matter for first-time filmmakers, whose own coming-of-age is an unlimited inspiration. Their stories are inherently dramatic, but more than that, they’re inherently cinematic – exploring the subjective and sexual gaze, projection of imagination onto reality, and the newly discovered textures of lips and skin.
Deniz Gamze Erguven ’s Mustang is a startling drama about the conservative strictures of a small Turkish village, and how the lives of five orphaned girls – in various stages of adolescence and puberty – are forever changed under their enforcement. Recently nominated for the Best Foreign Language Film Oscar, the release of Mustang is a fitting time to reflect on the genre as a whole, and explore ten affecting examples deserving wider recognition.
“ It’s not joyful being a child ,” cries four-year-old Ponette (Victoire Thivisol), the infant heroine of Jacques Doillon’s miraculous film about childhood grief. After her mother perishes in a car accident, and her father becomes inconsolable from the loss, Ponette is cast into spiritual and emotional isolation, hoping beyond hope that her parent will return. Unable to articulate her sorrow, Ponette is thrown deeper into turmoil by the irreconcilable degrees of literalism with which her family, teachers, and peers interpret Holy Scripture; seemingly the only way they can think to cure her despair. Told that her Mother will appear with prayer, the girl delays her recovery in the false hope of a corporeal reunion, and so her solace comes only in sleep; a retreat from the world, and from truth. A devastating coming-of-age film, set years before any child should have to come of age.
Banned in several countries under child protection laws, Maladolescenza ( Adolescent Malice ) is that rare film whose notoriety is entirely earned, but beneath the controversy is a fascinating picture of juvenile sociopathy. Fabrizio (Martin Loeb) lives from a solitary hut in the eerie Italian woodland, seemingly abandoned, and forced to come of age without social responsibility or a formal education. Every summer he is visited by the holidaying Laura (Lara Wendel), a squeamish girl several years his junior. This year, she quickly discovers that Fabrizio’s imagination and libido have far outpaced hers, and his affections now out themselves in the form of sadistic games involving torture, animal slaughter, and sexual manipulation. This is the Theatre of Cruelty relocated to the milieu of fairytale; the forest as a catalyst for hitherto nascent emotions and burgeoning sexuality. An unsettling but essential film.
A haunting work of remembrance, Su Friedrich’s Sink Or Swim essays the filmmaker’s highly dysfunctional relationship with a remote, intellectually bullying father, and examines how his absence – at first emotional, and then physical – has shaped her adult views on identity, marriage, and family. Starting from the moment of her conception, Friedrich structures the film as a series of twenty-six vignettes, told in reverse-alphabetical order, and ends with the image of a child singing the “ABC” song; a heartbreaking reference to her father’s job as a linguistics professor. Utilizing home movies, found footage, and reconstruction, Sink Or Swim is one of the great coming-of-agestories, because it suggests that – at least for Friedrich – coming-of-age is an ongoing process, and the act of creation, resulting in this film’s constant evolution of images and narratives, is a way for her to finally locate a sense of closure.
Maurice Pialat’s blustery portrait of post-’68 youth is a desperately sad film, exploring the lives of a generation attempting liberation through denial, indolence, and wandering lust. In one crucial scene, the Lens townsfolk gather for a wedding (between meek Agnes and boorish Rocky, whose union will be short lived), and the teens, tired of being scorned by their elders, seek out advice on relationships. What they discover are casual confessions of affairs and abandonment, a stark hypocrisy in light of their parent’s constant nagging. So Passe ton Bac d’abord... is not only one of the great films about the impermanence of youth, and the fight to extend its hedonism into adulthood, but also about how feelings of disillusionment, displacement, and hopelessness are, in a generational context, permanent. Different clothes; different songs – but the same troubles.
In post-war Osaka, inquisitive urchin Nobuo (Nobutaka Asahara) crosses the bridge from his family’s rice shop and bumps into Kiichi (Minoru Sakurai), a boy from the opposite bank. They quickly form a close bond, but, ironically, it’s this bond that will first expose the children to their differences in the world; the social and economic order that marks them as ‘other’. Director Kohei Oguri poses questions that, even in adulthood, are spiritually enervating in their unknowability: Why am I poor, and you are not? Why do you have opportunity, and I none? But for Nobuo and Kiichi, these questions burst a bubble of innocence, and by the film’s end, it appears that the world has become larger through their eyes – perhaps the truest definition of a coming-of-age.
“ What are you doing here night after night? ” The conductor is inquiring after Voula (Tania Palaiologou) and Alexandros (Michalis Zeke), young siblings attempting to board a train from Athens to Germany, the first steps of a quest to locate their deserted father. A tragic depiction of siblinghood, Landscape In The Mist is both a miniature story about parental abandonment and an overwhelming portrait of a country’s churning socio-political climate, where lost souls wander like ghosts, and seemingly kind strangers withhold dangerous motive. Towards the film’s end, both levels of its storytelling align, and as the children become lost in the mist we realise that they may never find their way home. Forever fatherless, and now motherless, perhaps they will too, upon crossing the German border, become nationless.
A cherished film in Australia, Storm Boy is unique among coming-of-age tales for its emphasis on the friendship between a child and his pet. Mike (Greg Rowe), isolated in a coastal shanty by his grieving father, is collecting driftwood on the shore when he discovers three baby pelican, whose mother has been killed by hunters. Encompassing the entire lifecycle of one pelican, Mr. Percival, Storm Boy is a gorgeous film about the emergence of empathy in a child, and how his relationship with the animal becomes a nurturing influence in place of his Mother. And under the tutelage of an aborigine named Fingerbone (David Gulpilil), Mike will learn to dispel the prejudice which tells him that his life – his family and his friendship – are not fit for society.
In the cinema of Claire Denis, dancing is an expression of the intangible; a way to transcend the borders of society, behaviour, and the body itself. In U.S. Go Home , when inhibited teen Alain (Gregoire Colin) dances to The Animals “ Hey Gyp” , it’s not only a protest against his domestic and spiritual confinement, but a mode of self-loathing, a fit against the joy he feels over this music, arriving as it does with the U.S. occupation of his small, outer-Parisian town (“ the basin ”). Later, dancing becomes part of a more complex courting ritual, and Denis’ camera glides around Alain, Martine (Alice Houri), and Marlene (Jessica Tharaud) as they signal and caress their partners. The dance is composed of minor and major gestures – another fitting description of the cinema of Claire Denis.
Shot over two years, and set between 1953–55, Nils Malmros’ Tree Of Knowledge is a compassionate portrait of a school class in the crucial years of their adolescence. Beginning as a free-form sketch of the children’s daily lives – geometry and history class, dancing, and cake shopping after school – Malmros generously allows for personalities to develop over plot, and only introduces a narrative anchor at the halfway point. Gradually, from the fabric of the film’s group portrait, the story of Elin (Eva Gram Schjoldager) emerges as the focal point, and when her sexual curiosity leaves her ostracized, the entire structure of the friendship group changes. This is a quiet and deeply affecting film, where heartache follows each whisper, and every glance carries the weight of a thousand words.
In a high school for the visually impaired, Diana (Karina Salim) and Fitri (Ayushita Nugraha) encounter the trials and triumphs of first love. A lovely film – the first from Indonesia to ever play Sundance – What They Don’t Talk About… locates subtle formal adjustments to mirror the condition of its characters. Instead of using sound and vision to their own end ( what does this place look like? sound like? ), director Mouly Surya uses them to evoke the sensations of touch and smell. Long tracking shots create an emotional geography for the characters to dance around once another (there are also pop-music interludes), while the pastoral colours and focus effects evoke the feel of changing weather. A sensuous debut, and Surya’s new film, Marlina The Murderer In Four Acts , will play at Cannes later this month.



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15 Actresses Who Were Too Young For These Scenes


Michael Llewellyn
Jul 27, 2017
World



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In the modern era of film and television, the use of young actors and actresses have to be met with strict guild lines. There are legal limitations in place to protect the safety and well being of the child, making sure that production crews are following labor laws and union rules in order to avoid any exploitation in the working environment. If producers don’t follow these guild lines or the child isn’t part of a union they could be hit with heavy fines.
Yet, even with such strict rules in place, one has to wonder about the morality of the use of child actors and actresses in films that depict violence, horror, and sexual content. There are films that have been made over the last few decades that were so controversial that they were banned in several countries for the use of young girls in roles that were more suited for adults. Which begs the question, why not use actresses that look young to play younger parts, in order to avoid controversy and potential bans? With that in mind, here at The Clever, we have decided to take a look at 15 roles where the actresses were clearly too young for the scenes they were performing in.
Gardens of the Night is a 2008 drama film featuring Ryan Simpkins in one of her earliest roles. The film tells a difficult story of a young girl that was kidnapped at the age of eight years old and forced into prostitution.
There are some tremendously acted scenes in there where she and another victim (a young boy) use their imaginations as a way to escape their horrible reality. Although her character’s scenes are taken over by an older actress later in the film’s story, some of the more harrowing scenes in the film are when she’s a child.
Gardens of the Night was very well-received, and Ryan Simpkins’ career has gone from strength to strength since with roles in Pride and Prejudice , The Road and more recently The House with Will Ferrell.

The 1997 version of Lolita starred a 15-year-old Dominque Swain and Jeremy Irons in an adaptation of the controversial novel of the same name. It was a controversial film about a middle-aged professor falling in love with his own step daughter.
The film does a very good job of highlighting the age difference between Jeremy Iron’s and Dominique Swain’s characters through the performances alone. However, it is that very obvious age gap between the actors that can make the film very uncomfortable viewing indeed. Apparently, most of the controversial scenes were performed by a stunt double for Swain, but it’s the heavily implied nature and dialogue in the film that makes it difficult to watch at times.

The Los Angeles based Thirteen is one of the most controversial dramas ever made. The film starred 15-year-old actresses Evan Rachel Wood and Nikki Reed. The film tells a deeply terrifying coming of age story, which is made more so because it was Nikki Reed herself that co-wrote the semi-autobiographical script for the movie.
Thirteen’s heavy themes of drug and alcohol abuse, teenage sexual activity, and scenes of self-harm were bound to draw controversy, but the critically acclaimed low budget film proved to be a huge hit and launched both young actresses into stardom. Evan Rachel Wood is one of the leading stars of the television series Westworld and Nikki Reed was one of the leads in the Twilight Saga .

The Exorcist is still considered to be one of the most effective horror films of all time. Even though its special effects look a little dated it still holds a level of fear because of the fact that it’s based on a true story. However, the reason the film holds the test of time is because of the superb performances in the film. There were acting greats on the screen like Max Von Sydow, Jason Miller, and Ellen Burstyn, and they were all excellent, but it was a 13-year-old Linda Blair that managed to terrify audiences for generations to come.
The Exorcist was (and still is) considered to be very controversial, not just because of the horror content but because of the scenes featured. The most shocking moment was when Blair’s character violently pleasured herself with a crucifix while berating and cursing at her mother.

Katya Berger was a young actress born in London, to parents that were already heavily involved in the entertainment industry. Her father was a famous Austrian actor called William Berger, and her mother was a Croatian singer/songwriter and actress Hanja Kochansky. Following her father’s footsteps from an early age she was cast in an Italian/Spanish post-World War 2 drama called Piccole Labbra at the age of 12.
The story of the film centered on a war veteran who rediscovers a reason to live again by falling in love with a 12-year-old girl. If that wasn’t controversial enough, she performed many scenes in the nude, and she performed various simulated sex scenes throughout the film as well. Katya went on to do more films with similarly explicit scenes, before leaving her acting career for good at the age of 17.

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