When period costumes appear in contemporary French cinema, one can almost always be sure that there will be some kind of criticism of the aristocracy or the bourgeoisie – this is the case, for example, in Bruno Dumont's mocking, misanthropic Slack Bay, or in Portrait Of A Lady On Fire, in which Céline Sciamma a love that is forbidden not only because of gender but also because of social status. For Aurélia Georges, going back to 1914 in Secret Name is not only a pretext for a story about class emancipation, but, above all, female emancipation.
The First World War has just broken out and sex worker Nelie (Lyna Khoudri) decides to abandon her current life and go to the front as a nurse. There, when an opportunity arises, she takes over the identity of the badly injured Rose (Maud Wyler), who comes from a good home. By impersonating her,...
The First World War has just broken out and sex worker Nelie (Lyna Khoudri) decides to abandon her current life and go to the front as a nurse. There, when an opportunity arises, she takes over the identity of the badly injured Rose (Maud Wyler), who comes from a good home. By impersonating her,...
- 8/10/2021
- by Mateusz Tarwacki
- eyeforfilm.co.uk
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