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The setting is crucial. This is not a romantic Italian summer or a sun-drenched Californian beach. This is the English countryside, where beauty is always entangled with decay. The girls swim in a pond next to a crumbling industrial factory. They trespass in abandoned buildings covered in graffiti. The manor house where Tamsin lives is gorgeous, but its walls are sweating with moisture and neglect.
The visual language of the film, crafted by Polish cinematographer Ryszard Lenczewski, is central to its power. The camera work is intimate, often handheld, utilizing natural light that gives the film a golden, honeyed glaze. This softness contrasts sharply with the harshness of the characters' realities. The use of jump cuts and a languid, drifting camera mimics the feeling of a summer day that stretches on forever, where time seems to lose its structure. My Summer of Love
: What begins as a friendship born of boredom and mutual loneliness quickly turns into a romantic and obsessive bond, described by some as a "teenage crush" fueled by hormones. : The girls' relationship is shadowed by Mona's brother, The setting is crucial
Then there is the religious subplot. Mona’s brother, Phil, has converted to charismatic Christianity. He carries a heavy cross through the hills, trying to exorcise his own demons. His scenes are jarring cuts of reality against the girls’ fantasy. He represents the "real world" of repression and guilt that awaits Mona once September arrives. The film suggests that desire—whether for God or for another woman—is just another form of madness. The girls swim in a pond next to