#queer fiilm

Image: Summer of Sangaile promotional materials

Summer of Sangaile: Dir. Alanté Kavaïté, 2015

by Lisa Krawczyk & Cori Tosch

Summer of Sangaile is a raw and emotionally-stirring film set in Lithuania. The main character is a seventeen year-old  woman, and the namesake of the film, Sangaile. The film opens on a large airfield, where the camera follows a small aircraft that spirals through the sky. The speedy transitions between the flagrant camera angles and positions are purposefully disorienting. When Sangaile gets the chance to fly, the camera joins her in the cockpit, focusing on her reactions to the twists and turns. This enables the viewer to physically feel the symptoms of Sangaile’s condition, and allows them to place themselves within her shoes.

The train of the film is driven by Sangaile’s love for flying. The excessively long introduction is a clear indication of the importance that stunt flying will partake in this film. Stunt flying is a somehwat reckless activity, which parallels well with Sangaile’s devil-may-care personality. Auste’s introduction is crucial to pushing the train forward in the same way that her participation in Sangaile’s arc was. When Sangaile hits the peak of her character arc, that is when the train may also be pushed forth, and the story finally reaches a point that demands the interest of the viewers.

The audience is almost immediately aware of the juxtaposition between Sangaile and Auste from the beginning scene. Sangaile seems to be more plain, which is seen in her appearance and her room. Sangaile’s room isn’t adorned with many things, while Auste’s room is vibrant and full of character. Their appearance also has a striking difference, paralleling their rooms; this is apparent to the audience from the first scene when the characters are introduced and although the audience doesn’t really know what’s going on we can see the juxtaposition in character and appearance.

The camera angles are chosen specifically to forward the themes of nature and strength (or lack there of). Sangaile’s name means strength according to the film; this also furthers the juxtaposition of Sanguile and Auste. This film also uses good camera angles of smoke coming from the stunt planes. This music this film uses is fitting; although, the music--almost jarringly--comes to a stop without any fade or transition. This seems to further the artistic nature of the film.

Auste, Sangaile’s lover, seems to allow the audience to see Sangaile in a more raw light; Sangaile’s character is not transparent at first glance. Sangaile is raw and emotional but we see Sangaile’s motives from Auste’s interactions with Sangaile and that allows the audience to become invested in this film. Sangaile’s interactions with her mother also shows the tumultuous relationship of her family life.

Within this film, there are many sexual innuendos and symbols. Seashells, flour, sand, a stuffed beaver–all these objects are used in this film for sexual imagery between Sangaile and Auste. Additionally, this movie plays well into new queer cinema because their relationship is unapologetic and the focus of the film. It’s matter-of-factly and the audience is engrossed by the relationship. The intimate moments on screen are well-established and well-executed.