Essay

Bande de Filles/Girlhood (Sciamma, 2014): Sequence Analysis

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Module
Beyond Sex and The City (EAF3508)

Institution
University Of Exeter (UoEX)

In this analysis, I will delve into the function of this sequence, unpacking the intricacies of mise-en-scène, cinematography, editing, and soundtrack. By dissecting these elements, one can uncover layers of meaning that inform our understanding of the power of female friendships.

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Uploaded on September 21, 2024
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Beyond Sex and the City: Sequence Analysis

Film Chosen: Bande de filles (Sciamma, 2014)
Sequence Chosen:
https://learningonscreen.ac.uk/ondemand/index.php/clip/249163?bcast=128239151

In the cinematic exploration of girlhood, meaning can be found in analysing the complexities

of mise-en-scène, camera work, editing, and the soundtrack of a film. The skilful

employment of these cinematic elements in Céline Sciamma's 2014 film, Bande de filles

(Sciamma, 2014), successfully allows viewers to easily construct meaning about characters

and their relationship with each other. The film follows its protagonist, Marieme, who seeks a

sense of belonging as she navigates various phases of her life growing up in the banlieue of

Paris. Throughout, Sciamma delves into the essence of girlhood, weaving a narrative that

deeply explores themes of identity, the power of female friendships and escapism, all

depicted through the skilful employment of cinematic techniques. A particular sequence that I

find most interestingly utilises and combines cinematic elements to underscore these themes,

and therefore, the scene I will be analysing in this sequence analysis is the first hotel room

scene. In this scene, Marieme solidifies her place within the friendship group when Lady's

girl gang temporarily escape their harsh realities by renting a hotel room where they dance

together to Rihanna's 2012 hit, 'Diamonds'. The widespread discussion and memorability of

this scene can be attributed to it being a turning point in Marieme's transformation from a

timid, unempowered girl to one who finds empowerment and a sense of belonging through

the comradery of her friends. Furthermore, in this analysis, I will delve into the function of

this sequence, unpacking the intricacies of mise-en-scène, cinematography, editing, and

soundtrack. By dissecting these elements, one can uncover layers of meaning that inform our

understanding of the power of female friendships.

This sequence is significant as it marks a critical temporary shift in the film's visual style

by how Sciamma signifies Marieme's integration into Lady's girl gang. Sciamma achieves

1

, Beyond Sex and the City: Sequence Analysis

this, for example, by visually distinguishing Marieme from the rest of the group as they

dance, symbolising her position in the gang and the ultimate sense of belonging she achieves

when she joins them dancing. The first glimpse of Marieme in this scene occurs as the

camera cuts from a tight close-up of Lady, Adiatou, and Filly energetically dancing together

to a wide shot of Marieme seated on the bed admiring their elated unity. This contrasting

transition from a closely framed, intimate and bustling series of shots that capture their

intertwined bodies dancing to a wide shot showcasing Marieme and the expansive emptiness

around her, emphasises the starkness of Marieme's world without her friends. Regarding

mise-en-scène, Sciamma's subtle lighting adjustment in both frames further enhances her

eventual integration, symbolising Marieme's transition from solitude to a collective sense of

belonging. The initial shots of the scene showcasing the gang dancing are bathed in an

intense blue hue, visually binding them together. As the shot cuts to Marieme observing them

in awe, the colour of blue spills into her frame as a reflection. However, this is purposefully

disrupted by the bedside lamp on the left, casting a soft yellow light. This cinematic choice

introduces a subtle contrast, illuminating the left side of the frame and Marieme's figure,

distinguishing her from the unified blue of the group. The camera's movement then disrupts

this as its focus slowly narrows, zooming in on Marieme as she watches in fascination. As

this zoom occurs, the lighting subtly transitions, diminishing the yellow hue until blue

prevails, fully capturing Marieme's expression in a close-up. As orchestrated by Sciamma,

this zooming technique not only serves to direct the spectator's attention onto Marieme's

facial expressions, highlighting her admiration for the carefree togetherness of the gang, but

also symbolises her transition from an outsider to an integral part of the group. These choices

in camera work and lighting visually convey that Marieme is no longer alone but has found

her place among them. As the camera's zooming movement stops, Marieme's face fills the

screen. She then exits the frame, leaving behind the now empty yellow and blue backdrop,

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