Céline Sciamma

Floriane yüzme takımı üyesi, alımlı, sarışın ve mükemmel vücutlu bir kız. Küçük ve erkeksi olan Marie içe dönük ve utangaç. Gözlemlemeyi sevenlerden. Anne’in ise kilo problemi var ve biraz dertli ama aynı zamanda lafını esirgemeyen ve dışa dönük bir tip. Anne, gözleri Floriane’dan başkasını görmeyen bir erkek yüzücüye “abayı yakmış”. Bu üç kızın arasındaki ilişki, duyguların yüzme havuzunun ışıltılı ve kuralcı ortamından soyunma odalarının ve yatak odalarının kişisel alanına geçip, arzunun ve kıskançlığın karanlık dehlizlerinde dolaşmaya başlamalarıyla birlikte farklı bir boyut alır. Yetişkinliğe has özel hayat çelişkileri, kamuya açılıp ergenliğin güvenli dünyasını istila edince ayarlar bozulur… Paris’in hemen dışındaki bir banliyöde geçen Nilüferler senkronize yüzme dünyasından gelen birbirinden çok farklı üç kızın içinden geçtikleri duygusal aşamaları takip eden bir film

From the starting point of her admiration for the pioneering Ukrainian filmmaker Kira Muratova (1934-2018), the director poses a question: is cinema made by women really tougher, more violent? Seeking answers, she talks to great contemporary filmmakers like Catherine Breillat, Virginie Despentes, Alice Diop, Céline Sciamma, Ana Lily Amirpour, and Monika Treut, among others. It becomes obvious that the cinema screen is a space for the projection of real social problems and power relations.

Marilyn, a woman for today: Sixty years after her death, Marilyn Monroe remains very much a woman of today. Behind the legendary Hollywood sex symbol, lies a modern woman, mistress of her destiny, building her own image, never hesitating to denounce certain producers, an act ahead of its time. A powerful, free and emancipated woman.

Is there such a thing as strictly feminine cinema? Is it more difficult for a woman than for a man to direct a film? Is gender parity necessary in the industry? Actress and producer Julie GAYET and actor and director Mathieu BUSSON ask these questions to twenty French woman filmmakers, who face a camera together for the first time. After over an hour of lively, informal, spontaneous and funny interviews, it becomes obvious that these issues are still problematic and definitely worthy of a documentary. As Mia HANSEN-LØVE remarks, “In the eyes of the people, a woman’s film is always a woman’s film, while a man’s movie is simply… a movie”.

Since 2022, Céline Sciamma has been shooting her own footage: documentary archives born from the desire of a useful camera. Fiction, for its part, has once again become a dream. Tutti Frutti is a journey through all these fragments brought together by editing, and an exploration of the hope of a solo filmmaking practice.

“I can’t remember the last time a guy got vulgar with me. When was the last time a guy did that thing… you know, with his lips, like damn girl, you’re hot. Of course I used to hate it. But Lady, c’mon, that’s a whole other ballgame! The little prick called me Lady.”