In a film that can’t choose whether or not it’s for children or for older people who think like them, that forgets to have an ending, and that would be unfunny if only we realized for selected it was angling towards comedy, that wrong-problem fallacy is the most superior-priority difficulty. Compact and fragile as a handmade dollhouse, Céline Sciamma’s best little movie pivots on a bit of unassuming magic.