Oppressed by her family setting, dead-end school prospects and the boys’ law in the neighbourhood, Marieme starts a new life after meeting a group of 3 free-spirited girls. She changes her name, her dress code, and quits school to be accepted in the gang, hoping that this will be a way to freedom.
Further Reading
- Sander Gilman,‘Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late Nineteenth-Century Art, Medicine, and Literature, in “Race,” Writing and Difference, edited by Henry Louis Gates, Jr. (Chicago: University of Chicago Press, 1986), 223-261
- Marshall, Don D. ‘Rihanna as Global Icon and Caribbean Threshold Figure’, in Rihanna: Barbados World-Gurl in Global Popular Culture, edited by Hilary McD. Beckles and Heather D. Russell (Kingston: The University of the West Indies Press, 2015), 38-73.
- Claire Mouflard, ‘ “Il y a des règles: Gender, Surveillance and Circulation in Céline Sciamma’s Bande de filles’, Women in French Studies 24: 16 (2016), 113-126
- Emma Wilson (2017), ‘Scenes of Hurt and Rapture: Céline Sciamma’s Girlhood’, Film Quarterly, 70.3, 10-22.
- Isabelle McNeill, ‘Shine Bright Like A Diamond’: music, performance and digitextuality in Céline Sciamma’s Bande de filles(2014)’, Studies in French Cinema, forthcoming
- Lisa Weems, ‘M.I.A in the Global Youthscape: Rethinking Girls’ Resistance and Agency in Postcolonial Contexts’,Girlhood Studies (2009),