to paraphrase the opening lullaby from Porgy and Bess. The folk opera written by George Gershwin, his brother Ira, and DuBose Heyward, author of the novel on which the show was based, opened on Broadway in 1935 but coincidentally an 'adult' play, The Children's Hour, by Lillian Hellman opened on Broadway and the 'adult' theme was the accusation (false) by a malicious schoolgirl that the two unmarried young women who owned the private school were engaged in an active lesbian relationship. 80 years later women are in the provinces are still not allowed to display sexual affection openly and that is the main thrust of this excellent film. For me, a heterosexual male the selling point was third-billed Noemie Lvovsky as the mother of one of the two female lovers followed by Cecile de France whom I had seen only in ingenue-type roles. The key to the film was the time it was set, 1971, when 'feminist' activists were making a noise world-wide but farmer's daughter Izia Higelin is in no position to express feelings about anything in Limousin so she moves to Paris and in nothing flat is heavily involved in women's lib and in nothing flatter she seduces a leader of the movement, Cecilde de France, who, as it happen, is in a relationship (they share a home) with a man. It's not, of course, much of a problem to maintain an all-female relationship in Paris but that would be too easy so when the farmer suffers a stroke his more than able-bodied daughter moves back to Limousin to run the farm. Cecile de France, now in way over her head, follows her and they continue the passionate affair clandestinely. This is a very lyrical film with gorgeous shots of the country around Limousin and farming activities like haymaking designed to enhance the unorthodox story. It ends in tears, natch, but it is a journey well worth sharing with the protagonists.

'La Belle Saison' is set in 1971 when women were asserting their rights – as indeed a lot of folk were doing the same to a world that was not really ready. This is set against the lives of Delphine from a rural farming family. She escapes to Paris where she happens to cross paths with the fiery Carole (Cécile de France – 'Meserine').

Then amidst the heady cocktail of feminism, liberation and radical politics they expressed themselves sexually – which of course was revolutionary. Yes they set about challenging the heterosexual orthodoxy - and found more than just a political statement in that they fell for each other.

Now there is tons more to this inspiringly brilliant film. It is made in such a way that the characters come alive and are completely believable. All the performances are outstanding and the period detail is really good too. The hair and fashions as well as the vehicles are spot on – and some nice Janis Joplin songs on the soundtrack too. There is so much here to like that it is a very easy job to recommend.

LGBT rights are more relevant than ever. In several countries, unfortunately, the trend is towards more difficult living conditions for gays and transgender people. Seen in such a perspective, the plot of this film remains relevant, despite the fact that it depicts a summer in 1971. Although perhaps the problem here is something we have seen in many films, the film is experienced as both engaging and well told. I sat thinking when I saw this movie; how many such fates exist? Both before and now? That people cannot live their lives to the fullest, in fear of condemnation from their surroundings. There are probably a lot of them, and in that way such films become important and unfortunately relevant. For such films we need. We need to be reminded of how the world treats and views queer people. In addition to a strong and pointed action, the film is also beautifully filmed, well directed and with good actors who get both convincing and engaging.