One negative comment for this little comedy of manners, it's a little unfair. I would tend to be more generous towards Franck Landron's effort which has the merit to bring to the light of day a social phenomenon rarely explored in cinema: naturist communities.
I agree with the precedent viewer who deemed the end of the film underwhelming because unexplained. Alacrity seemed to be prevailing in the director's mind when he shot these ambiguous ending sequences. What do Olivier (Alexandre Brasseur) and Sophie (Barbara Schulz) really think about? Are they ready to settle down in the camp or do they want to abscond and go back to their humdrum daily life in Paris? While I'm on the drawbacks, it will also certainly be easy to fault on certain derivative points of the story. We learn that Olivier purchased this house because he didn't want to spend his holidays at Sophie's mother's. Could there be a stormy relationship between him and her? Then, the values of this close-knit naturist community make the film a little outdated and falsely modern because it harks back to the hippie culture which used to laud a return to nature and the basic pleasures of life, notably free sex.
But Landron's effort shouldn't be dismissed all the same. The title of the film designates the people who wear clothes in a nudist camp and so Sophie and her children are them. Her wary demeanor makes sense: in a society so much concerned with fashions in clothing and sense of decency, how many people would be ready to take their clothes off and to follow the rules and manners of a nudist community? It is highly likely that many people including me and you would react like her. "Les Textiles" is a call for tolerance, integration about the right to live naked in an isolated community.
There's nothing crass in Franck Landron's treatment of nudism and he films without complacency and a certain neutrality, Sophie's stay on the island among its naked inhabitants. Comical sequences are efficiently subdued. "Get your clothes off!" says some inhabitants to Sophie. It is also to his credit to have reduced the danger of some traps which seemed inevitable like a latent voyeurism and he plays on evocative colors between bright ones during the day and dark ones in the evening. A special cinematography gives the film an almost documentary style.
Don't be fooled by the low rating and give this social comedy a go.
I agree with the precedent viewer who deemed the end of the film underwhelming because unexplained. Alacrity seemed to be prevailing in the director's mind when he shot these ambiguous ending sequences. What do Olivier (Alexandre Brasseur) and Sophie (Barbara Schulz) really think about? Are they ready to settle down in the camp or do they want to abscond and go back to their humdrum daily life in Paris? While I'm on the drawbacks, it will also certainly be easy to fault on certain derivative points of the story. We learn that Olivier purchased this house because he didn't want to spend his holidays at Sophie's mother's. Could there be a stormy relationship between him and her? Then, the values of this close-knit naturist community make the film a little outdated and falsely modern because it harks back to the hippie culture which used to laud a return to nature and the basic pleasures of life, notably free sex.
But Landron's effort shouldn't be dismissed all the same. The title of the film designates the people who wear clothes in a nudist camp and so Sophie and her children are them. Her wary demeanor makes sense: in a society so much concerned with fashions in clothing and sense of decency, how many people would be ready to take their clothes off and to follow the rules and manners of a nudist community? It is highly likely that many people including me and you would react like her. "Les Textiles" is a call for tolerance, integration about the right to live naked in an isolated community.
There's nothing crass in Franck Landron's treatment of nudism and he films without complacency and a certain neutrality, Sophie's stay on the island among its naked inhabitants. Comical sequences are efficiently subdued. "Get your clothes off!" says some inhabitants to Sophie. It is also to his credit to have reduced the danger of some traps which seemed inevitable like a latent voyeurism and he plays on evocative colors between bright ones during the day and dark ones in the evening. A special cinematography gives the film an almost documentary style.
Don't be fooled by the low rating and give this social comedy a go.