A Beautiful Restoration for a Frustrating Film

Read Time:5 Minute, 44 Second

MOVIE REVIEW
Girls
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Genre: Drama, Coming-of-Age, Romance
Year Released: 1980, 2026 Cult Epics 4K
Runtime: 1h 35m
Director(s): Just Jaeckin
Writer(s): Just Jaeckin, Géza von Radványi, Jean-Luc Voulfow
Cast: Anne Parillaud, Zoé Chauveau, Charlotte Walior, Isabelle Mejias
Where to Watch: available now, order your copy here: www.cultepics.com, www.mvdshop.com, or www.amazon.com

RAVING REVIEW: GIRLS presents itself as a snapshot of youth in transition, a variation on the traditional coming-of-age story, but it never quite decides how closely it wants to observe that moment or what it wants to say about it once it does. The film follows a group of young women stepping out of adolescence and into a version of adulthood that feels both exhilarating and unstable. Yet, instead of building that journey into a single, solid vision, it drifts through it with a looseness that becomes harder to ignore the longer it goes on.

Director/co-writer Just Jaeckin approaches the material with a visual style that immediately stands out. His background in more stylized storytelling is evident in how the film frames its characters, often lingering on expressions and environments rather than driving scenes forward through dialogue or plot. There’s a clear attempt to capture the emotion and texture of this stage of life, the uncertainty, the curiosity, the vulnerability that comes with stepping into an unfamiliar domain, but that approach also creates distance when the film needs clarity.

The central dynamic between the three main characters, along with the younger sister who tries to follow their lead, has the potential to anchor the story in something deeply meaningful. There are glimpses of that connection early on, particularly in how they navigate relationships and independence. The film understands that influence runs both ways, with the older girls shaping the younger ones’ expectations while also revealing their own lack of direction. That tension could have carried the film if it had been explored with more focus.

Instead, the narrative moves in fragments, presenting moments without always building on them. Scenes feel isolated rather than connected, which makes it difficult to track emotional progression. The characters go through experiences that feel like they should carry more weight, but the film often treats them with the same light touch it applies to everything else, creating a disconnect between subject matter and impact. That becomes especially noticeable when the film begins to touch on more serious territory.

There are elements here that push beyond a typical coming-of-age story, particularly in how the film portrays the consequences of inexperience and misplaced trust. The younger sister’s storyline introduces a shift in tone, suggesting the film is willing to confront the darker side of this transition into adulthood. The problem is that the film doesn’t commit to that as it could have. It introduces heavier material, but it doesn’t reshape the narrative around it, which leaves those moments feeling underdeveloped rather than transformative. That imbalance defines much of the film.

Jaeckin’s direction keeps everything consistent, but emotionally, the film struggles to find a steady footing. There are stretches where it leans into an almost carefree tone, focusing on nightlife, relationships, and the surface-level excitement of freedom. Then it pivots toward something more serious without bridging the gap between those two modes. The result is a film that feels uncertain of its own identity, caught between observation and commentary without fully succeeding at either. The performances reflect that uncertainty.

Anne Parillaud brings a performance that suggests there’s more beneath the surface. Zoé Chauveau and Charlotte Walior contribute to the group dynamic, but their characters remain loosely defined, making it harder to invest in their individual arcs. Isabelle Mejias stands out, as her character’s trajectory carries more weight, yet the film doesn’t give her story the depth or attention it needs to land fully. There’s a sense throughout that the film is more interested in capturing a mood than telling a story.

That approach isn’t without value. There are moments when the film feels honest in its portrayal of uncertainty, capturing the awkwardness and confusion of early adulthood without simplifying it. Those moments suggest a more focused version of this film, one that leans into character and consequence with greater intention.

The Cult Epics restoration highlights the film’s strengths without making its weaknesses more in focus. Visually, the film looks excellent, with the restoration bringing out the detail in its composition and lighting. The soundtrack, with its early ‘80s influence, adds to the atmosphere and reinforces the film’s sense of time and place. These elements create an experience that’s easy to appreciate on a surface level, even when the underlying story struggles.

GIRLS feels like a film built on strong instincts that were never shaped into a complete vision. It has the pieces of something more, a compelling premise, moments of emotional honesty, and a distinct visual identity. Yet it never brings those elements together in a way that feels like the complete story. It’s a film that can be appreciated for what it attempts, but it leaves the impression that it could have said far more if it had been willing to focus its voice.

Bonus Materials:
4K Transfer (from the original negative) & Restoration
Audio Commentary by Jeremy Richey
Who is Just Jaeckin – Essay by Jeremy Richey
Last Interview with director Just Jaeckin (2022)
Interview with Isabelle Mejias (2025)
Archival interview with Just Jaeckin, Anne Parrilaud, Zoé Chaveau, Charlotte Walior (TFI, 1980)
Girls: The German Cut
Theatrical Trailers

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[photo courtesy of CULT EPICS, MVD ENTERTAINMENT]

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