In a film that can’t make your mind up no matter whether it’s for young ones or for grownups who feel like them, that forgets to have an ending, and that would be unfunny if only we understood for specified it was angling toward comedy, that false-predicament fallacy is the most superior-priority problem. Compact and fragile as a selfmade dollhouse, Céline Sciamma’s best minimal film pivots on a little bit of unassuming magic.