
Lost in France
2017

1995
TV-MADirector
Lisa Lake, Robin Mahoney, William Beaton, Michael Sarne, Matthew Salkeld
Runtime
96 minutes
Average Rating
No ratings yetSynopsis
A comprehensive re-edit of the source footage shot in 1993 for the original 1995 film, charting three days at the Glastonbury music festival.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film captures a communal atmosphere where non-normative gender expressions are visible. While specific queer narratives are absent, the crowd dynamics reflect the era's burgeoning acceptance of diverse identities.
Gender Representation
Female performers and attendees are present, reflecting the gendered dynamics of the 1990s music scene. The footage shows a period of transition where festival freedom began challenging traditional roles.
Racial & Ethnic Diversity
The footage captures a spectrum of ethnic diversity among attendees and performers. However, representation aligns with the demographic realities and social composition of the early 1990s UK.
Religious & Cultural Diversity
The documentary excels at depicting alternative cultural values like communalism and secularism. It frames the festival as a space where traditional class and religious hierarchies are temporarily suspended.
Disability Representation
There is limited evidence of intentional representation regarding neurodivergence or physical disabilities. No individuals with disabilities are granted central agency or specialized narrative focus.
Strengths
Areas for Improvement
AI Analysis
This documentary serves as a vital cultural archive of the 1993 Glastonbury festival. It functions as an observational survey of a subculture, capturing the shifting social textures of the early 1990s rather than following scripted character arcs. The film's strength lies in its authentic documentation of a space that challenged traditional social norms. It provides a window into a period of transition where communalism and social fluidity took precedence over rigid institutional structures. However, the representation is limited by the era's demographic realities. It lacks the intentional intersectionality and deliberate subversion of modern media, particularly regarding disability and highly diverse casting.

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