Sofia Coppola. Somewhere

Céline Sciamma’s directorial debut, Naissance des pieuvres,depicts the emotional and sexual awakening of three teenagers around an indoor swimming pool in a Parisian suburb. Marie, a fifteen-year-old introvert, becomes fascinated by Floriane, the charismatic captain of a local synchronised swimming team. Driven by this attraction, Marie tries to get closer to her while observing the complex dynamics of desire, friendship and power that develops between the young girls. At the same time, Anne, one of Marie’s friends, has her own experience of insecurity and affective search, shaped by the pressure to fit in and belong. As the relationship between the three intensifies, contradictions surface between the image they outwardly project and their real feelings.  

Standing away from the common places on adolescence, Céline Sciamma explores first love, burgeoning queer identity and the uncertainty of desire with an intimate, observational gaze, resulting in a sensitive and honest portrait of a time of transformation, in which each gesture leads to the passage from childhood to adulthood.

Johnny Marco (Stephen Dorff), a famous Hollywood actor, lives a life of pleasure in Hotel Chateau Marmont in Los Angeles, drifting aimlessly between vacuous relationships, punctuated by film shoots and commercial duties. Cleo (Elle Fanning), his eleven-year-old daughter, stays with him for a few weeks due to her mother’s absence, forcing him to rethink his life.  

Sofia Coppola’s employment of swimming pools is carefully considered in the film — blue water in Somewhere is the only place where Marco can recover the meaning of his existence as the pool acts as a womb in which he finds balance. While living with his daughter Cleo and the reflection of these aquatic moments — diving under water, floating, playing or simply sunbathing with no real purpose — everything happens. Thus, Coppola explores in depth themes such as fame, loneliness and the complexity of human ties, putting forward an intimate and profound portrait full of the subtleties of life.

Gal Dove (Ray Winstone), a criminal for the British mafia, lives happily retired with his wife in an idyllic villa in southern Spain and a dazzling swimming pool. Their peace is shattered with the arrival of Don Logan (Ben Kingsley), a former gangster and criminal associate who wants to convince him to do one last job.  

If a swimming pool can be at the heart of suspense, then Sexy Beast is the quintessence. The reflection of blue water in Gal’s idyllic seclusion symbolises the artificial paradise that can be broken at any time. This first feature-length film by British director Jonathan Glazer (also the director of The Zone of Interest, 2023) starts with one of the most striking swimming pool scenes, a symbol for the impending danger about to reach this whitewashed haven of peace. The perfect vision of recreated beauty — luxury pools on the Andalusian coast — which, in the depths of pristine water, conceals an unsettling fear of returning to the past.

Sarah Morton (Charlotte Rampling), a frustrated English writer paralysed by writer’s block, is invited by her editor to spend a few days in her summer house in the south of France. While there she meets Julie (Ludivine Sagnier), the editor’s uninhibited daughter. The young girl’s hypersexuality clashes with Morton’s cold nature, an initial hostility which turns into a fascination with the private life of the young girl, serving the writer as inspiration for her new novel and tugging the story to an ambiguous game between truth and imagination.   

Being in crisis is wanting to be another person. Sarah wants to absorb the vitality of her young host, a process of metamorphosis triggered by the swimming pool. The pool is the film’s central character, the place where Julie shows her naked body and amorous acts, sending Sarah into a state of agitation. Through the pool and its water, the writer drinks in Julie’s wild passion. The aquatic enclosure thus acts as catharsis: the place where the subconscious of the writer flourishes, enabling her to unleash her creativity and free her fantasies. At the same time, water distorts the image, blurring fiction and reality; ultimately, the necessary medium to keep art afloat.

The body in water as an object of ideology. This is one of the major themes of the 1930s and this session, where Nazism and Anarchism dissolve into two different swimming pools. Two great films of counterposed ideologies which have gone down in history as examples of film’s power to represent a vision of the world. In Olympia, Part 2. Festival of Beauty, Leni Riefenstahl films the Olympic Games of Berlin in 1936, organised during the Third Reich. The camera leaves the athletics stadium to show the repertoire of modern sports — fencing, polo, cycling, pentathlon — before culminating in the Olympic pool with Adolf Hitler as the host, where the beautiful, disciplined, classical bodies of the swimmers bring to mind, as Susan Sontag wrote, the visual fascination that characterised fascism. Meanwhile, Jean Vigo, the son of an exiled Spanish anarchist, films French Olympic champion Jean Taris in a funny, playful exercise, where the swimming pool becomes a field of play without rules and where avant-garde film-making elements of the 1930s materialise, such as slow motion, superimposed images and dynamic editing. Two avant-garde films, two films on opposite poles that show, for a time, swimming not as an object of pleasure or desire, but as a space of contest from which to demonstrate the power of the twentieth century’s great ideologies.

The swimming pool and dancing aquatic bodies as a place of reverie and fascination in the advent of Hollywood and the fledgling entertainment industry. A musical prior to the moralising Hays Code in which a visionary Busby Berkeley directs one of the most lavish mass-participation choreographies in the history of cinema. The main number is By a Waterfall, with a pool and hundreds of bathers front and centre. After observing this piece, Salvador Dalí considered Busby Berkeley an equal in his paranoid delirium and a major influence on his installations, for instance the work he made for the 1939 New York World’s Fair. 

The story follows a brilliant theatre director who dreams up grandiose musical numbers to be performed in cinemas before each screening, saving live performance from the rise of spoken film. Therefore, he throws himself into a race to show the world the three most lavish musicals ever imagined. Along with Honeymoon Hotel and Shanghai Lil, By a Waterfall stands out and is considered the most striking film choreography focused on the plastic possibilities of the swimming pool. Hundreds of swimmers turn their bodies into monumental, abstract geometric figures in a crescendo of surprise and wonder which builds the swimming pool into the essential architecture for a Hollywood conceived as a new factory of dreams. 

Benjamin Braddock (Dustin Hoffman) is a young graduate from a wealthy California family. After returning home he meets Mrs Robinson (Anne Bancroft), who seduces him in successive encounters and shows him things that can’t be read in books. Mrs Robinson’s daughter, Elaine (Katharine Ross), enters his life to turn his feelings upside down. 

Anne Bancroft’s remarkable performance shows the need to feel alive in a world gone stale, and the weapons sex possesses opposite romantic love. This is the learning curve young Ben experiences, and it is the time he spends drifting in the swimming pool that takes him from bewilderment to lucidity. He goes from a fool in a wetsuit lost at the bottom of the pool, to letting himself sway on the waters of pleasure or to see the mantle of the pool covered in fallen leaves with the arrival of love. The swimming pool is the place that initiates a change of state: an awakening of life forces. 

The end of the world, caused by climate change, is here and a group of friends wander from swimming pool to swimming pool at the height of a long, hot summer in Buenos Aires. From pool to pool, they cross the city, drifting leisurely and agreeably. In this transit they encounter different survivors searching desperately for water until their journey ends.    

In echoing Frank Perry and Sydney Pollack’s film The Swimmer, Sol Iglesias’s The Swimmers is, equally, a path towards first light. The swimming pools symbolise, on this sunburnt stage, a metaphor at once for shelter and death by asphyxiation. It is the extreme heat that turns it into a fresh and pleasurable ending. The swimming pool, moreover, represents the lethargy of a youth tired of fighting against something they see as “inevitable”. As the young people trespass on a neighbourhood’s private property — rather than in public space — the pool is a stronghold of intimacy that must be seized: the false paradise of a collapsed society. The film brings the viewer closer to another film to feature in this series, La ciénaga (The Swamp, 2001) by Lucrecia Martel, in which bodies search for recesses of stagnant water.

Painting endows a fleeting and unique moment with permanence and stability. This was the vision of the late David Hockney when, brushstroke by brushstroke, he returned to the swimming pool in A Bigger Splash: the great dive into a Californian pool which freezes a sense of happiness. A splash made by Peter Schlesinger, the painter’s partner from whom he has just separated.   

In the film A Bigger Splash, Jack Hazan portrays the world of a successful artist, art-market and art-dealer pressure, the tension between the ego and personal frailty, and the obligation to continue with a style and iconography which, despite its instantly recognisable artistic imprint, creates doubts for the painter. In a grey, rainy London, a glum Hockney, the victim of soured love, keeps returning to the Californian swimming pool that holds the promise of happiness, in the form of a homosexual Arcadia in which the painter lives with his young partner and a group of equally glowing and attractive friends. Ultimately, the pool, as Jack Hazan recalls in this pioneering artist’s documentary, is a simile for the same painting in its original intention: hang onto fleetingness to lend it a permanence for the beholder, despite it not existing. Hockney, as one of the last great painters, knew his medium remained largely unchanged across hundreds of years of history.

For the first time, the Museo’s summer cinema programme includes an experimental film section, centred on the experience and feeling of bodies under water. This session glides between the ostentatious aquatic architecture of Barbara Hammer and Barbara Klutinis and Jakobois’s fantasies, fleeting contact and wet, sexualised bodies. Six completely different swimming pools — private, public, transparent, bottomless, indoor, outdoor — all designed for leisure, competition and desire, nonetheless. A journey ranging from the monumentality of architecture to the intimacy of wet bodies.    

Pools, by Barbara Hammer and Barbara Klutinis, turns swimming pools designed by pioneering architect Julia Morgan for the castle of tycoon William Randolph Hearst — the inspiration for Citizen Kane — into a space of play, bodily exploration and queer appropriation, an excuse to dive into a scene reserved for privilege. In An Algorithm, Bette Gordon fragments a series of headfirst dives and turns the sporting gesture into a visual score of repetitions, variations and rhythms. Tony Hill’s Water Work seduces with perspective, reflections and depth — the swimming pool as optical illusion, as an unstable surface which distorts and multiplies the gaze. Cheap Imitation “They Walk and I Walk”, by Rickard Eklund, submerges the camera to capture a choreography of synchronized bodies, a dance suspended under water. Naked bodies that dodge, twist and embrace in a space seemingly with no gravity combine in Gunilla Leander’s All Under. Passage du désir, by Jakobois, closes the programme with a montage in which water is no longer an environment, becoming instead a territory of desire.  

Two gems, from two new voices in Latin American cinema, which swing between families, swimming pools, reencounters and status. In Debajo, a short film on youth by Chilean director Dominga Sotomayor, an abstract yet powerful bird’s-eye view of a swimming pool co-exists with the relationships of a crisis-stricken family, gathered to see an eclipse. Sotomayor’s distinctive film-making of care and affects shares a similar space to the daily naturalism of Thais Fujinaga’s A Felicidade das Coisas. In the director’s first feature film, the swimming pool is not a horizontal basin for swimmers’ immersion; rather it is a huge vertical monolith, a kind of an anti-monument, anchored in the garden of a middle-class family. The film conveys the efforts and challenges of a mother of two children to build a swimming pool in their modest summer house, a mother who, alone, comes up against a hypermasculine world. Equally, the film speaks of family love, and the search for status, with the swimming pool a languishing totem of the Brazilian middle class during the years of Bolsonarism.

In The Party, actor Hrundi V. Bakshi (Peter Sellers) is mistakenly invited to a glamorous dinner party in Hollywood. His curiosity and two left feet lead to one funny mishap after the other. During the soiree he consoles Michèle, a young actress who has been fired by her producer, and the chaos gathers momentum when Bakshi accidentally opens a retractable floor, making the guests fall into a swimming pool. A small hippie-style elephant gatecrashes the party, brought by a group of young people, and Bakshi asks the guests to wash the elephant as it is a sacred animal in his country. The house fills with soap suds, culminating in a wackily chaotic party.  

When Stanley Kubrick was once asked who Peter Sellers was, he replied: “There is no such person as Peter Sellers”. The Party is one of the most widely recognised comedies in the history of film, its director Blake Edwards and the English actor making an entertaining critique of a fading conservative society. The cultural revolutions of the 1960s fit into the container of a choppy swimming pool: people from high society, an elephant, a Russian ballet, waiters, beatnik youth… similar to Sellers’s own identity: an empty vessel that can be refilled. In the film, Edwards tapped into the ingenious actor’s innate improvisation and the swimming pool as a container for revolutionary intent.

A couple of families spend the summer in a country cottage. The relationship between them exposes a crisis. The alcoholism of Mecha (Graciela Borges) and Gregorio (Martín Adjemián) becomes clear, leading to a drift in the education of their children and impacting relationships of respect and affect. Weariness expresses the lackadaisical environment.   

In La ciénaga Lucrecia Martel approaches the decadence of a middle-class Argentinian family. The pool of dirty, stagnant water reflects the economic and social collapse of a whole country, yet reflects more than economic crisis as it becomes a murky well feeding off the pain of those living in the house. An erstwhile space of joy, the swimming pool becomes a reflection of adult depression, resulting in apathy. And the children, especially the girls, seem to be the only people awake in this drift. Barring a flicker of unawareness, the young people immerse themselves in rainwater or the water from the river, in water that flows, but are cautious of getting too close to the swimming pool.

A couple with three adult children live in a modern country cottage. A large swimming pool takes centre stage in a sizeable garden. The property is skirted by a large fence that blocks a view of the outside. Here, the father has educated his children without outside contact, maintaining their belief in a false world: aeroplanes fall in the garden like toys and they must act like dogs to defend themselves from the ferocious cats that surround the house. The promise of going out into the world when they lose their dogtooth is proof of their maturity. 

Lanthimos builds a world that is surreal, comical and terrible. The swimming pool is the house’s central element, a limited, controlled space assimilated like the sea, yet under the father’s supervision. A space of imagination, but with sinister intentions: the children are indoctrinated under the water as they believe in a better world. Far from reality. The swimming pool’s limits are the limits of their freedom, a false state of well-being expressed in the weightless bodies in the water. The liquid element is an analgesic magma with the power to educate offspring under the latent fear of a shark bite.

Ion de Sosa will open this fresh edition of the Museo Reina Sofía’s summer cinema series, a director whose film-making is counter-cultural, risqué and authentic, as well as fully alive and unpredictable. Balearic, one of the films of the year, is about a group of teenagers who are trapped in a swimming pool surrounded by a pack of ferocious dogs while an adult gathering gives over to the most decadent hedonism in a nearby pool. Images of pleasure and enjoyment that turn into feelings of horror and alienation, an antithetical reference point which gives form to this entire summer film season. Equally, the film mixes genres, where the lust of teenage cinema and the blood of the most insatiable slasher films co-exist with the social satire of neorealist social commentary.

Shot in a 16mm format, in which experiences proliferate to sprout beyond the screen, Balearic contains other traces of Ion de Sosa’s film-making, for instance the mix of professional and amateur actors, where a clutch of actors appears alongside icons from Spanish underground cinema such as Marta Bassols, Julián Génisson and Lorena Iglesias, regular companions on the film-maker’s cinematic journeys, and improvised scenes with no script, as with the dialogues of musician Christina Rosenvinge and artist María Llopis. The idea of Balearic has its roots in Ion de Sosa’s viewing of The Swimmer (1968) by Frank Perry and Sydney Pollack, also screened in this summer film series.

Neddy Merrill (Burt Lancaster), a handsome and vigorous middle-aged man, decides to swim home via his neighbours’ swimming pools in an upscale gated community in Connecticut. He calls the waterway the “Lucinda River” in honour of his wife. Merrill is a high-profile advertising executive, seemingly loved and acknowledged by his neighbours, who invite him to embark upon his surreal idea.    

The Swimmer, initiated by Frank Perry and realised by director Sidney Pollack, is a bitter metaphor for life, the pools here a reflection of the “river of life”, a course that runs from the affluence of bygone bourgeois status to present-day decadence. Outwardly jovial and bright, the film shows the transition towards the eclipse of the American dream, the decline of youth and the impossibility of admitting defeat to phantasy. The swimming pool, which, according to Orson Welles in a 1964 interview, represented the obsession with status and the reason why many ultimately betrayed their comrades during McCarthyism, underpins here this idea of the superficiality entailed in the destruction of social ties.