A simple, innocent deception exponentially grows in significance as the remarkable Tomboy progresses. Moving into a new town, tall, skinny 10 year old Laure (Zoe Heran) ventures into the streets to make new friends. With her cropped hair and startlingly fresh-faced good looks, she refers to herself as ‘Mikael’ when meeting a local girl, Lisa (Jeanne Disson), and is never assumed to be anything other than male from that point on.
The first complication arises from Laure’s bond with Lisa who attracted in her naïve, pre-adolescent way. Writer and director Celine Sciamma creates tension from tiny moments like taking her top off to assimilate with the boys in a soccer match in which Laure edges tantalisingly close to the verge of being exposed. But her young, undeveloped body is an asset in sustaining the impression of her ‘masculinity’.
Tomboy is a superbly realised drama; a deceptively immersive experience that, from a modest beginnings, manages to become something truly compelling. Its effectiveness, though relying almost entirely on the conviction of Heran’s ambiguous appearance, is further aided by the naturalistic performances of all the children, especially cheeky six year old Malon Levanna as Laure’s young sister Jeanne, whose later compliance with her siblings cause adds to the undercurrent of vague unease.
As ultimately doomed as Laure’s deception was, a part of me was hoping for it to continue despite knowing full well the internal damage it had the power to exert on the entire family once flushed into the light. Tomboy is an unforgettable experience, exquisitely crafted and capped off with a near-perfect final frame.
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