Girls of the Sun

A spoiler light review of Girls of the Sun should begin with tone, because Eva Husson understands exactly how this war drama ought to feel. Girls of the Sun gains early credibility from Golshifteh Farahani, whose presence is balanced by the different rhythm of Emmanuelle Bercot. The foundation of Girls of the Sun can be stated simply: A Kurdish female battalion prepares to take back their town from extremists. Within its 1h 55m running time, Girls of the Sun reveals both the benefits and the limits of that disciplined approach.

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As director of Girls of the Sun, Eva Husson proves engaging in bursts but unable to maintain the same control in the transitions between intimate material and larger demands. A strong scene in Girls of the Sun often begins with a modest detail before Eva Husson lets its meaning expand. For Girls of the Sun, worthwhile ideas compete with an uneven structure because the central tone remains visible even during busy passages. The weakness in Girls of the Sun is that the pace alternates between hurry and drift, although Eva Husson usually finds the original rhythm again.

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Girls of the Sun uses its war drama framework to consider duty, survival and the moral burden left after immediate danger. For the character played by Golshifteh Farahani, that idea gives Girls of the Sun stakes beyond the next immediate obstacle. The recurring pressure of the central character prevents the theme in Girls of the Sun from feeling like decoration added after the story. Eva Husson makes Girls of the Sun more thoughtful whenever the implications remain inside action and reaction.

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Performance is the clearest human asset in Girls of the Sun, beginning with the committed centre provided by Golshifteh Farahani. Emmanuelle Bercot keeps Girls of the Sun from settling into one emotional register by approaching the material from another angle. The presence of Zübeyde Bulut gives the surrounding world of Girls of the Sun additional texture without distracting from the main line. When Eva Husson holds on a reaction, Girls of the Sun communicates more efficiently than another explanatory exchange could manage.

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Girls of the Sun gains much of its identity from sound that preserves confusion without losing clarity, a choice that makes the world readable as well as attractive. The contribution of Maneki Films allows Girls of the Sun to combine sound that preserves confusion without losing clarity with a consistent visual language. Within its France setting, Girls of the Sun makes particularly good use of tension grounded in geography when the story needs to change scale. Sound and editing preserve the personality of Girls of the Sun by supporting detail instead of announcing every intended response.

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The narrative of Girls of the Sun works from a simple but productive collision between Kurdish and the central character. Through Golshifteh Farahani, Girls of the Sun keeps that premise rooted in a reaction the audience can understand. Eva Husson introduces an important relationship at a useful point, giving Girls of the Sun a reason to change pace without abandoning its emotional line. The handling of a difficult choice is not equally fresh, yet Girls of the Sun usually earns attention through clarity rather than surprise alone.

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My final view is that Girls of the Sun provides a qualified recommendation for war film viewers who prefer consequence to uncomplicated heroics. Golshifteh Farahani supplies the emotional memory of Girls of the Sun, while Eva Husson keeps the genre machinery readable. A concern remains because the pace alternates between hurry and drift across part of Girls of the Sun, yet the better passages retain their force. What earns Girls of the Sun consideration is not perfection but the presence of choices that feel made for this story.