Pequeña Mamá

Fairy tales do come true, or so Disney would have us believe. The French, as in writer/director Celine Sciamma's Petite Maman, make a whimsical tale come true by using a technique Walt would have appreciated, magical realism.

When an eight-year-old girl, Nelly (Josephine Sanz), meets her eight-year-old mother, Marion (Gabrielle Sanz), not only do they make you believe, but they also give dignity to a deeply-embedded longing we have to know our parents when they were our age.

This all-too-brief 72 min fantasy reaches an imaginative high whereby the soft and precise longings of a bright adolescent girl to hold onto her mother take place in the traditional forest of fairy tales. Mom had built a hut here long ago and now emerges to greet her daughter, same age 8. They bond immediately, laugh girlie silly, and generally devour their friendship.

As in fairy tales and life itself, the romance must end, especially since mom's operation on her leg is imminent, evidenced by her using her cane. Although the timing of the events is not always linear, Sciamma has made it clear she is not interested in accuracy but rather in the honesty of the emotions and the arc of the characters.

While Sciamma crafted a far more popular, potboiling Portrait of a Lady on Fire, Petite Maman is like its title, a minimalist ode to the challenges of longing inherent in the mother-daughter romance. There will never be enough time, and no one will be able to know completely the most important person in their lives. Yet, Sciamma shows that small moments loom large in the memory, as when Nelly feeds mom cheese puffs from the back of the car, while Marion is driving. It's a ritual that binds.

The Sanz twins (they call themselves "sisters born on the same day) are like fantasy actors, smart but not overbearing, never too cute but abnormally insightful. They deliver the emotional heart of this low-key film that posits a child may fantastically come to know a mother as a real person. Petite Maman is a lyrical song to mother and daughters, who never know their mothers well enough until a brilliant filmmaker shows them how.

The best fantasy this year, the best mother-daughter tale ever.

'Petite Maman (2021)' is an extremely low-key movie about a young girl who makes a new friend while staying at her recently deceased grandmother's house as her parents sort through the late matriarch's belongings. Even its subtle but significant fantastical elements (the exact nature of which are suitably ambiguous) are presented in a very realistic, down-to-earth way. It may very well just be the first social-realist children's fantasy film I've ever seen and it works far better than it perhaps ought to. Its lack of exaggeration allows it to hit home especially hard, as it feels like an experience that almost all of us will be able to relate to on some level. It acts as a sort of pseudo nostalgic retrospection for adults and, I'd imagine, an in-the-moment reflection of reality for children. Because of this, I actually think that it would be a good flick to watch with your own kids, especially since it deals with themes surrounding the relationship between parent and child. It isn't sappy like most movies dealing with a similar subject; in fact, it has a rather potent underpinning of melancholy to it. This sadness is profound yet benevolent, a representation of the slightly intangible and partially existential dread that inevitably exists on the fringes of everybody's own existence. The film posits that sadness is simply a part of life, something to be dealt with as it arises rather than pushed deep down below the surface. At the same time, the flick isn't even close to dour (evidence of that can be found in the genuine joy it is able to inspire simply by portraying the innocent laughter of children). It just represents reality as most of us experience it: flawed, somewhat monotonous and filled with ups and downs. There's an uplifting vibe to the overall affair and it all actually feels rather poignant. Though it isn't the most straightforwardly exciting or compelling piece, it does have a distinct effect and lingers with you for quite a while after it is over. It's a lovely film, despite its motifs of sadness and grief. It's also pretty unique in its own way. It's really good. 7/10.

From the writer-director of Portrait of a Lady on Fire comes yet another tender, touching & heartfelt drama fantasy that may not have the same intense, intoxicating passion brewing under the surface but it sure exhibits a similar intimacy in its approach. Petite Maman is a delicately crafted story that looks at love, loss, grief & innocence through the eyes of an 8-year old girl.

Written & directed by Céline Sciamma, the film is only 70 mins long and follows a young girl coping with the death of her grandmother by bonding with her mother. Sciamma's nuanced portrait of childhood & imagination allows her to address the necessary themes by merging harsh realism with fantastical escape, thus preserving the innocence & purity of youth, while narrating her tale with sensitivity.

Despite the brief runtime, Sciamma never hurries through the proceedings and lets the story unfold & unravel at its own pace. The film is also shot with elegance, told with compassion & benefits from sincere performances from the whole cast. Joséphine Sanz plays her part with emotional honesty under Sciamma's supervision and she is well-supported by her twin sister who plays the 8-year old version of her mother.

Overall, Petite Maman finds beauty in simplicity and is another fascinating addition to Céline Sciamma's oeuvre. A sweet & poignant story about coping & bonding between a daughter & her mother that's rendered on screen with unfailing warmth & tenderness, Sciamma's latest is as arresting on visual fronts as it is stirring on the emotional scale, and doesn't make the mistake of overstaying its welcome. Definitely recommended.

Celine Sciamma's sensitive and superb PETITE MAMAN is akin to a novella for inquisitive children. Like all good bedtime stories, it's made out of seemingly ordinary events and adventures, yet delivers graceful wisdom. Sciamma creates an intimate world where a litte magic can prosper.

Nelly (Joséphine Sanz) is at her grandmother's house helping her parents sort out the estate. Her mother (Nina Meurisse) grew up there. During her stay, Nelly plays on the same grounds as her mother and befriends another eight-year old girl, Marion (played by Josephine's sister, Gabrielle). Their bond becomes very close even during the brief time they have together.

As with Sciamma's PORTRAIT OF A LADY ON FIRE, the Director (who also penned the screenplay) doesn't employ a background score, choosing to let the natural sounds of wind and rain to create the mood. There are also are abundant silences. When a cheekily titled pop song (La Musique du Futur; lyrics by Sciamma) plays on the soundtrack it bursts with an extra force as it breaks the spell. Claire Mathon's cinematography is exquisite without ever drawing attention. The movie is efficiently edited, but, never feels rushed, the filmmaker confident that the backstory can easily be imagined without showing every beat.

PETITE MAMAN, like PORTRAIT is a story about women with the only male being the father (Stéphane Varupenne). The female characters represent three stages of motherhood: the past, the present and the future. With a run-time of 72 minutes, one might expect the simplicity to allow for only a superficial treatment of its themes, but, Sciamma turns it into a virtue. Life is short - embrace those around you while you can. The emotionally resonant final exchange consists of only two simple words, but entire lifetimes are implied. PETITE MAMAN is not only about sayign Au Revoir, but, also, Allo.

Petite Maman is a very understated, reflective, and almost meditative film.

Celine Sciamma uses her stripped back and beautiful film making to highlight the characters and their relationships in such sensitive way.

We follow a young girl dealing with grief and loss, which is explored through a poignantly played out time travel scenario.

It's a very short film, but with a lot of emotion, power, and humour packed in.

The two young leads are great, and with not much of a supporting cast at all they had to be.

A beautiful story with beautiful direction. Lovely.