French Girls, a debut feature from writer-director Hyun Lee, presents a stripped-back drama set in Sydney's modelling scene, reportedly made on a budget of $28,000. The film, executive produced by Nash Edgerton who appears in a small role towards the end, avoids the glitz and glamour typically associated with the fashion industry, opting instead for a low-fi, aesthetically austere approach with a rough-edged visual lyricism and naturalistic performances.
Film's Austere Approach and Realism
The pared-back nature of French Girls extends to its messaging. Lee has stated she did not seek to “critique models, the fashion industry or even capitalism” and approached the film “as if it were a nature documentary.” This fly-on-the-wall attitude imbues the film with extra realism, distinguishing it from more conventional productions while also creating a sense of emotional detachment.
The story follows Mia (Mia Kidis), who works in construction and is approached on the street by a model agent. She soon finds herself working for an agency that prides itself on representing models with a “unique and different look.” In one scene, models describe the job as “90% waiting and 10% work,” and the film captures this experience by lingering on the periphery of the modelling world rather than placing viewers at the centre of the action.
Refreshing Lack of Manufactured Drama
At one point, Mia is asked to model a cloth-like white garment down a runway and reveal her naked body if she is comfortable with it. In a more conventional film, this might be a major moral quandary or challenge to overcome. Here, it barely registers as an event: Mia is totally cool with it, and the decision-making moment comes and goes without much emphasis. The film's refusal to manufacture drama is refreshing, though some contrived elements occasionally creep in, including a key gun-related incident that feels unconvincingly staged and borrowed from a less realistic production.
A reflective voiceover from a young woman brings out French Girls at its most contemplative, offering observations threaded throughout the film. “Maybe the French invented fashion, but they also invented the guillotine,” she muses at one point. These gentle reflections add a touch of philosophical curiosity without disrupting the film's understated approach.
Performances and Future Potential
Lee directs her actors towards restrained and minimalist performances, with the acting never feeling showy or self-conscious. Kidis's lead performance is impressively judged, gently expressive, and completely unlaboured. However, the review notes that her wings have been clipped, and the critic expresses curiosity to see what she might do in a more expressive role with a wider emotional range.
Similarly, the critic expresses curiosity about what Lee might do with a larger budget and more resources. The handmade quality of French Girls is central to its modest, lived-in appeal, though it also hints at a film-maker whose ideas and instincts could really flourish with greater scope and freedom. With the film reportedly made for just $28,000, the review suggests that funding bodies and potential backers would be wise to provide more resources, as Lee demonstrates a confidence and observational acuity that makes her a director worth watching. French Girls is showing at the Melbourne international film festival.
