Friendzone réal. par Charles Van Tieghem

Abstract

Reviewed by: Friendzone réal. par Charles Van Tieghem Maria G. Traub Tieghem, Charles Van, réal. Friendzone. Int. Mickaël Lumière, Manon Azem, Fadili Camara, Eva Danino. Nabi, 2021. From a vintage-style Volkswagen van descend three beautiful twenty-something women, calling to "Titi" to join them. A smiling, obliging young man steps out and follows along. The ladies are headed to a bachelorette party for Alex, one of the three. The camera pans people with glasses and bottles in their hands, frolicking from hotel rooftop to poolside, dancing, drinking, and splashing into the water. The hired, male entertainer performs hip undulations that pantomime sex before the bride-to-be, then removes (off-camera) his bathing brief. This first explicit gesture announces the general theme of the film: mating. Titi, who prefers the name Thibault, is propositioned by a nude male partygoer. It takes Thibault a few seconds to understand what is asked, before he refuses. This unsophisticated, softhearted young man rushes to save an attractive young woman stung by a jellyfish. Using his nursing skills to assist her, he gets to know Rose and begins to feel strongly attracted to her. Lighting and music accentuate the plot line, but Thibault gets in his own way. He is so eager to please, even verbally; he trips over everything he says. On another visit to Rose, a TV movie scene shows copulation in progress. Rose is nonchalant because Thibault is a friend, but his feelings make him uncomfortable. The film wants to be a romantic comedy but becomes tedious and predictable. His three friends decide to help him gain sex appeal. An unusual trio—independent banker Maud, a lesbian, Afro-French nurse Lulu, a co-worker, and newlywed, experienced Alexandra, come together to plan their friend Thibault's makeover. The three are all on-screen so much that it becomes their story about transforming a friend as much as Thibault's quest to win Rose. Rose is hardly present on screen. Their makeover includes physical exercise, African dancing, as well as conversation practice. When Thibault is given instructions for physical maneuvers to stimulate women during sex by lesbian Maud, the film clearly flirts with the pornographic. Lulu gets him to dance lessons and strategizes winning scenarios, while Alex coaches him on how to speak to a woman. Thibault tries out his newfound skills at a bar. He encounters Jennifer, a French version of Kim Kardashian. They begin a steamy, passionate affair, spending time together in empty, self-indulgent ways. Having had enough, Thibault confronts, rebukes, and breaks all relationships and all pretense. Fleeing to Rose, he humbly explains who he is and what his feelings are. This confessional scene is a film cliché, but it continues to please. The movie has feel-good tonality, but there is no real character development or growth. We do not have a substantial backstory to any of the characters; we do not know what Thibault's heart says to his head, likewise for Rose. The nudity and sex talk garner red flags for educators: check institutional policies! The film's language is peppered with contemporary French street talk as well as English. The takeaway message, "Be honest, be yourself," is conveyed after an odyssey in hedonism. [End Page 268] Maria G. Traub Neumann University (PA) Copyright © 2023 American Association of Teachers of French