Celine Sciamma already showed her sensitivity in working with adolescents in Water Lilies, which was a startlingly intense survery of the emotional landscape of three teenage girls; here she finds a lighter tone, at least for much of the film, which is appropriate to the younger age group. She seems to capture brilliantly how ten-year-olds behave and think (as far as I can judge), and keeps the adult world somewhat at a distance, even though it is certainly a film for adults. The two central performances are really something to marvel at - two sisters, the older of whom is passing herself off as a boy in their new neighbourhood. Of course it can't last, but Laure, or Mickael, as she is known outside the house, is a most winning presence and shown to be a remarkably sensitive child, very protective of her sister as an older brother might be. The treatment she is subjected to is upsetting because it feels so wrong; she really is fine just as she is, but society cannot handle such a blurring of the genders. Even the children seem to find it unacceptable, largely, especially the boys, indicating how early these gender roles are established and how strong the need to conform to them really is. The real coup, apart from the extraordinary sensitivity of Sciamma's camera, is Zoe Heran's performance, which is little short of miraculous; I kept feeling what a wonderful child she was, different from the others but empathic and kind, as well as boyish, to an exceptional degree. It makes you sad to realise how many tribulations a child like Laure must go through on the path to adulthood, and how damaging all that is, but a film like this can only help towards greater acceptance. The camera tends to show the young cast a lot in close-up, mirroring the immediacy of their world and its focus on immediate surroundings. On a lighter note, it is very nice to see Mathieu Demy - son of Jacques Demy and Agnes Varda - taking the role of the father with a wonderful gentleness and paternal love.