Summertime Review

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In a similar vein to Pride (2014), Catherine Corsini’s coming of age romantic drama Summertime delves into a very specific movement, this time fighting for equality of women in Paris during the 1970s, through the eyes of a wide-eyed newcomer, nervous, afraid and trepidatious as they become immersed in this radical, courageous way of thinking. This works much like the aforementioned British endeavour did too, as this absorbing protagonist makes for an endearing entry point, impressionable and naïve in a relatable way. We’re also new to this particular setting, so adopting this perspective is essential.

That very character is Delphine (Izia Higelin) who leaves behind her parent’s farm in Limousin to move to Paris and study, where she meets the impassioned feminist, and Spanish teacher, Carole (Cécile De France). While the former has fallen in love with a woman before, for the latter this is entirely new territory, as she leaves behind her partner Manuel (Benjamin Bellecour) to embark in an intensely passionate relationship with Delphine, surprising her by turning up at her family’s farm to visit. However Delphine is from a very different background and a less forgiving society than the French capital, and wants her sexual orientation to remain secretive, and avoid having her judgemental parents find out. This builds a tension between the pair that threatens to disrupt their seemingly harmonious situation.

The film improves drastically once Delphine and Carole return back to the former’s family home (a decision prompted by the sudden illness of her father). For it’s watching their relationship blossom and then wither which is intriguing, whereas when they first meet it feels contrived, and too hurried in its execution. We don’t quite invest, initially, as much as we should, though needless to say as we progress through this narrative we become attached, as the freedom they feel in each other’s company is evident, especially in comparison to the suffocation they feel outside of it, as you get a real sense that this feeling of unconditional love they both feel is a sensation they may never better.

As the narrative develops another key theme which takes precedence, is that of the stark differences between city life, and the countryside, the ideals and values, the perception of their lifestyle and the acceptance/ignorance they face. While the story changes pace, the one consistent is the striking performance by Higelin, who has a subtle, natural screen presence, presenting the flaws of the role, and making for such a real, full-bodied character that its easy to relate to.

As well as having gay protagonists, there’s a strong feminist undercurrent to this tale, using their sexuality as a means of also presenting the hardships women had to face (and still do, to a lesser extent) in this society. However it’s a balanced feature that casts an eye over society without judging it, evident in that the patriarchal presence of Delphine’s father is explored, and though he now makes for a diminished, powerless man, we study how the three women (Delphine’s mother included) navigate their way around this situation.

But Corsini is quick to establish, early on, that the feminism movement that Carole is a pivotal part of is by no means anti-men, it’s merely pro-women, as just one of several themes explored in this multi-faceted endeavour, which can be described as a remarkable balancing act, if nothing else.