Alma’s life gets both worse and better when a popular peer pokes her with his penis at a casual gathering (romance!), and she refuses to let him live it down, alternately turned out and a little freaked out. When the film opens, Alma’s sexual awakening is already chugging right along, though it’s about as tragically amusing as it gets, punctuated by routine calls to a phone sex line and a mother who just doesn’t get it. Jannicke Systad Jacobsen’s Norwegian festival favorite doesn’t shy away from showing off just how gross, weird, and yes, horny as hell girls can be, too, all filtered through the experience of indomitable Alma (Helene Bergsholm).
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Sure, audiences may still flock to the film for its unbridled sex sequences, but there’s no scene more telling than Adele, stuffing her sauce-stained face full of spaghetti, bursting with new desires that have to be redirected somewhere.Īwkward, horny teens eager for sexual satisfaction are hardly underrepresented in the entertainment world - hello, sex comedies - but films that center on teenage girls and their kinkiest desires are still outliers. There’s no love quite like the first, and while Adele’s awakening isn’t just about sex, but also her sexuality, that her most formative of experiences comes at the hands of another woman is simply one facet of a highly relatable love story.
Hormonally speaking, it’s essential that the film opens when Exarchopoulos’ Adele is still slogging through high school, all burning desires and deep boredom, the perfect time for her to meet and fall obsessively in love with the slightly older Emma. While “Blue” earned big buzz because of the obvious - its long-form sex scenes, alternately hot and totally exhausting - that only obscures the finer points that Kechiche and his ladies put on the ill-fated romance between Adele and Emma. Like “Beach Rats,” Hittman slowly spoons out important revelations, but its the smallest details that hurt - and hit - the most.Ībdellatif Kechiche’s rigorously erotic three-hour romance initially spawned Cannes walkouts before picking up the Palme d’Or, split three ways between Kechiche and his stars Adele Exarchopoulos and Lea Seydoux, proof of the level of dedication all three of them poured into a wild (read: maybe even nightmarish) shoot. Lila’s emotional immaturity constantly butts up against her deep physical desires, leading her into increasingly fraught situations she’s not equipped to handle.
Lila’s desire to be, well, desirable, finds her fixating on a local boy Sammy (Ronen Rubinstein) with a reputation, whom she doggedly pursues in hopes of striking up a relationship. Set during another languorous Brooklyn summer, Hittman’s debut follows 14-year-old Lila (a fearless Gina Piersanti), awkwardly and constantly exposed to the sexual exploits of her older friend Chiara (Giovanna Salimeni), who goes through boyfriends and experiences with the kind of ease that Lila can scarcely imagine. While “Beach Rats” isn’t an official sequel to Hittman’s previous film, “It Felt Like Love,” the filmmaker explores similar themes and structures and both, told from seemingly opposite vantage points.
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