Ma Petite Maman
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Ma Petite Maman
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From Wikipedia, the free encyclopedia
2021 French fantasy drama film by Céline Sciamma
Joséphine Sanz
Gabrielle Sanz
Stéphane Varupenne
Nina Meurisse
Margo Abascal
Lilies Films
Canal+
Cine+
France 3 Cinéma
3 March 2021 ( 2021-03-03 ) ( Berlinale )
2 June 2021 ( 2021-06-02 ) (France)
^ "Petite Maman" . Berlin International Film Festival . Retrieved 17 February 2021 .
^ "Petite Maman" . Box Office Mojo . Retrieved 8 June 2022 .
^ Keslassy, Elsa (9 November 2020). "Celine Sciamma Shooting New Movie 'Petite Maman' in France" . Variety . Retrieved 11 February 2021 .
^ Barfield, Charles (11 November 2020). "Celine Sciamma Has Begun Production On Her Next Feature, 'Petite Maman' " . The Playlist . Retrieved 11 February 2021 .
^ Lemercier, Fabien (12 November 2020). "Appealing new titles for mk2 Films at the online AFM" . CineEuropa . Retrieved 11 February 2021 .
^ Jump up to: a b Grater, Tom (11 February 2021). "Berlinale Unveils Competition Line-Up: New Pics From Daniel Bruhl, Celine Sciamma, Radu Jude, Xavier Beauvois & Hong Sang-soo" . Deadline Hollywood . Retrieved 11 February 2021 .
^ D'Alessandro, Anthony (3 March 2021). "Neon Reteams With 'Portrait Of A Lady On Fire' Filmmaker Celine Sciamma For 'Petite Maman' – EFM" . Deadline . Retrieved 3 March 2021 .
^ Dalton, Ben (9 March 2021). "Mubi picks up Céline Sciamma's 'Petite Maman' for UK-Ireland and Turkey" . Screen International . Retrieved 9 March 2021 .
^ "Petite Maman" . Pyramide Distribition . Retrieved 30 April 2021 .
^ Rubin, Rebecca (20 July 2021). "Toronto Film Festival Lineup Adds 'Dear Evan Hansen,' 'The Eyes of Tammy Faye' and 'Clifford the Big Red Dog' " . Variety . Retrieved 20 July 2021 . {{ cite web }} : CS1 maint: url-status ( link )
^ "Women win big at San Sebastian Film Festival" . Reuters . 26 September 2021 . Retrieved 27 July 2021 . {{ cite web }} : CS1 maint: url-status ( link )
^ " Petite Maman " . Rotten Tomatoes . Fandango Media . Retrieved 10 May 2022 .
^ "Petite Maman" . Metacritic . Retrieved 10 May 2022 .
^ "Mark Kermode's best films of 2021" . the Guardian . 26 December 2021 . Retrieved 21 April 2022 .
^ Kermode, Mark (21 November 2021). "Petite Maman review – Céline Sciamma's heartbreakingly hopeful fairytale for all ages" . the Guardian . Retrieved 21 April 2022 .
^ Rochman, Fathur (21 November 2021). "JFW 2021 bukti Jakarta dukung bangkitnya ekosistem film Indonesia" . Antaranews (in Indonesian) . Retrieved 21 June 2022 .
^ Ramachandran, Naman (3 November 2021). " 'Belfast,' 'Boiling Point' Lead BIFA Nominations" . Variety . Retrieved 3 November 2021 .
^ Tallerico, Brian (13 December 2021). "West Side Story Leads the 2021 Chicago Critics Nominees" . RogerEbert . Retrieved 13 December 2021 .
^ Shanfield, Ethan; Murphy, J. Kim (18 December 2021). " 'Drive My Car' and 'The Power of the Dog' Win Top Prizes at L.A. Film Critics Association Awards 2021 (Full List)" . Variety . Retrieved 19 December 2021 .
^ Pond, Steve (8 January 2022). " 'Drive My Car' Wins Best Picture Award From National Society of Film Critics" . The Wrap . Retrieved 8 January 2022 .
^ Neglia, Matt (16 January 2022). "The 2021 Toronto Film Critics Association (TFCA) Winners" . Next Big Picture . Retrieved 16 January 2022 .
^ Yossman, K.J. (16 December 2021). "Female Filmmakers Shine at London Critics' Circle Film Awards With Nominations for Jane Campion, Maggie Gyllenhaal and Joanna Hogg" . Variety . Retrieved 16 December 2021 .
^ Long, Brent; Tangcay, Jazz (14 December 2021). "Indie Spirit Awards 2022 Nominations (Updating Live)" . Variety . Retrieved 14 December 2021 .
^ Grater, Tom (3 February 2022). "BAFTA Film Awards: 'Dune' & 'The Power Of The Dog' Lead Nominations" . Deadline .
Petite Maman is a 2021 French fantasy drama film , written and directed by Céline Sciamma . Starring Joséphine Sanz, Gabrielle Sanz, Stéphane Varupenne, Nina Meurisse and Margo Abascal, the film follows a young girl coping with the death of her maternal grandmother by bonding with her mother.
The film had its world premiere at the 71st Berlin International Film Festival on 3 March 2021, and was released in France on 2 June 2021, by Pyramide Distribution. The film received widespread critical acclaim.
Eight year old Nelly has just lost her maternal grandmother. Her parents retreat to her mother's childhood home in order to empty it out. Nelly's mother is deeply upset by the whole process and leaves during the night without saying goodbye to Nelly.
Going out into the woods to play, Nelly meets a girl her own age building a fort. The girl, Marion, is extremely friendly and invites Nelly to help her. When it begins to rain, Marion takes Nelly to her home. After Nelly explains that she is visiting the area after the death of her grandmother, Marion tells her that her own grandmother, also named Nelly, died recently. Going through the house, Nelly realizes that it is her grandmother's house and Marion is her mother. Alarmed, she flees and is relieved when she returns to the house and finds her father in the present.
Nelly returns a second time to the woods and sees her mother again. They continue to build the fort. Nelly learns that they are the same age and that in three days, Marion is set to have an operation to prevent her from developing the same illness as her mother. Returning repeatedly, Nelly is able to spend time with her grandmother and learn things about her mother such as she harbours ambitions of being an actress.
The day before departure, Nelly reveals to Marion that she is her daughter and comes from the future. To prove it, she brings Marion to her grandmother's house where she reveals to Marion that her mother dies when Marion is 31 and that Nelly loved her deeply. The two are interrupted by Nelly's father, who tells Nelly that he has finished early and wants to return in time for her mother's birthday. Marion asks Nelly to sleep over and Nelly convinces her father to let her stay an extra night so she can spend more time with Marion.
Nelly and Marion celebrate Marion's ninth birthday during the sleepover. The following morning, Marion prepares to go to the hospital. Nelly reassures her the operation will be fine. Nelly also reveals that her mother is a sad person and she often wonders if it is because of her. Marion reassures her that she does not think this is the case. The two hug before Marion leaves for the hospital and Nelly returns home for a final time.
Returning to her grandmother's house, Nelly is surprised by her mother who has returned for a final viewing of the house. The two embrace, as they say each other's names.
In November 2020, it was announced Céline Sciamma would write and direct, with Bénédicte Couvreur serving as a producer, with Pyramide Distribution set to distribute. [3] [4]
Principal photography began in November 2020. [5]
Petite Maman had its world premiere at the 71st Berlin International Film Festival in March 2021, where Neon bought North American distribution rights to the film the same day. [6] [7] A week later, MUBI acquired the distribution rights for the UK, Ireland and Turkey. [8] It was released in France on 2 June 2021, by Pyramide Distribution. [9]
The film screened at the Toronto International Film Festival in September 2021. [10] It also screened at the 2021 San Sebastián International Film Festival , where it won the Audience Award. [11]
Petite Maman received critical acclaim. On the review aggregator website Rotten Tomatoes , 97% of 203 critics' reviews are positive, with an average rating of 8.70/10. The website's consensus reads, "Small in narrative scope but deeply impactful, Petite Maman is a delicate, powerfully acted meditation on grief." [12] On Metacritic , the film holds a rating of 93 out of 100, based on 37 critics, indicating "universal acclaim". [13] English film critic Mark Kermode called it his favourite film of 2021, [14] writing "Whether you are six or 60, this astonishingly insightful and heartbreakingly hopeful cinematic poem will pierce your heart, broaden your mind and gladden your soul, even as you wipe away tears." [15]
Céline Sciamma and Bénédicte Couvreur
Céline Sciamma and Bénédicte Couvreur
The African Desperate
Peyton Robinson
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Luckiest Girl Alive
Marya E. Gates
We forget a lot of things when we grow up. One of those things is how slowly time seemed to pass during childhood. Back then, the days were permeated with impatience as we awaited the arrival of adulthood, completely unaware that the semblance of a slog would be replaced by a speeding up of time as we hurtled toward death. Even when the day was full of adventure, or we were preoccupied with some project or media, there were pockets of silence and boredom, moments that were simply filled with dead air. Time goes by so slowly. Until it does not.
Writer/director Céline Sciamma ’s superbly acted “Petite Maman” understands this forgotten notion. So many films about children fear even one moment to savor the mundane elements of life. The pacing here is deliberate, but never invites boredom. At barely 72 minutes, it breezes by before we realize how deeply it has implanted itself in our memory. There are heavy topics present here, the death of a parent, childhood illness, grief, and the guilt one feels when unfinished business exists with the deceased. But they exist within an aura of the fantastic that elevates them from a level of unbearable pain to a more comforting area of bittersweetness.
“Petite Maman” also acknowledges another idea that evaporates from the mind once it reaches maturity: the notion that something truly magical can not only happen but can be accepted at face value. Our protagonist, Nelly (a magnificent Joséphine Sanz ), discovers something incredible in the backyard of her mother’s childhood home, and rather than interrogate it with skepticism, she simply runs with it. The inkling that something enlightening may occur intrigues her. She’s at the age where an imaginative outcome remained unspoiled by the chafing of a forced suspension of disbelief. Sciamma trusts us to go with Nelly now, and to ask questions later, if at all. Those looking for explanations of what happens here will be sorely disappointed.
Sciamma employs the same visual storytelling she used in her prior feature, “Portrait of a Lady On Fire.” She informs us of the close relationship between Nelly and Marion ( Nina Meurisse ) in the scene where the two are en route to Marion’s old residence. The camera stays focused on Marion, with Nelly’s hands entering the frame to feed her a lunchtime snack. The action repeats itself numerous times, more than we’re expecting. It’s almost comical, these little hands feeding a grown woman in a reversal of a common mother-child activity. Then Sciamma unexpectedly goes for your heart: Nelly’s arms embrace her mother’s neck for several beats before the scene ends.
Marion is making the trip to clean out her mother’s home. When “Petite Maman” opens, we are informed without plot exposition that her mother has passed. Nelly walks through what appears to be a senior citizen’s residence, saying goodbye to several women before entering an empty room where a cane resides. Sciamma is setting us up for the moment later in the film where we see that cane in use by its owner, and it’s not in a flashback, either. “I didn’t get to say goodbye,” Nelly tells her mother, who informs her that she always said goodbye as part of the ritual we’ve just seen her perform. “But the last goodbye wasn’t good,” Nelly says.
That line hits hard. No goodbye can be good enough where death is concerned, because it’s the last one and there are no do-overs. It’s no surprise that Nelly will get another chance to perfect her farewell, but Sciamma resists the urge to overplay it. Sanz plays it without aiming for perfection; it’s merely just another chance to say the same goodbye. There’s such fragile beauty in the mere thought of the opportunity. “Petite Maman” is full of scenes like this, scenes that aim for a casual nonchalance that allows the viewer to absorb them without a telegraphed emotion. It allows you to fill in the blanks.
Sciamma uses Nelly’s grandmother’s death as a jumping off point for her tender investigation of mothers and daughters. Like Nelly, we do not know much about Marion’s childhood nor her relationship with her Mom. When Nelly asks her father ( Stéphane Varupenne ) about the forest fort/treehouse Marion built as a child, Marion dismisses the enterprise as “child stuff” that doesn’t warrant any interest. “I am interested,” says Nelly. “I am a child.” It’s a reminder to her mother and to us; soon after, we are immersed in the fable the director spins for her protagonist. Nelly accepts each flight of fancy not because she is gullible or lacks any skepticism, but because her age allows her the unfiltered capacity to believe.
While in the forest surrounding her grandmother’s house, Nelly discovers a similarly aged little girl ( Gabrielle Sanz ) building a fort. Her name is Marion, just like her mother, and she bears more than a passing resemblance to Nelly. (The two actors are sisters.) When Marion invites Nelly home, she brings her to the same house Nelly left when she entered the forest despite not following the same path. Watch Sanz’s surprised reaction when she presses the part of the wall that revealed a secret door earlier in the film. She figures this jump to the past rather quickly, and after an initial hesitation, decides to pursue wherever this adventure takes her.
What’s most refreshing about “Petite Maman” is that it doesn’t play coy with its magic, nor does it separate it from the sadder, darker reality that surrounds it. Nelly tells the young Marion that she is her daughter, and that she knows the surgery Marion will be undergoing the next day will have its repercussions but will also serve the purpose of keeping her from the affliction that caused her mother to use that cane. Rather than ask how the two wound up on the same timeline, young Marion asks for more information. The two bond in ways that the adult Marion and her child simply cannot. They play games, and we see the similarities between the two. Imagine if you knew your parent as a kid, the film asks, and the possibilities haunted and intrigued me long after the film was over.
I am so much like my own mother, and she is very much like her dad, who died when I was 18 months old. Many days I have wondered that, If I’d known him better, I’d know mom better, and by extension, I’d understand myself. “Petite Maman” inspires that kind of feeling, and does so in a fashion that is simple on the surface, yet commendably complex upon introspection. When Nelly and the adult version of Marion see each other at the end, the result is emotionally overwhelming, even more so when you realize that the film accomplishes this catharsis with two words. These two are rediscovering themselves. We forget a lot of things when we grow up. This film is a wonderful reminder.
Odie "Odienator" Henderson has spent over 33 years working in Information Technology. He runs the blogs Big Media Vandalism and Tales of Odienary Madness. Read his answers to our Movie Love Questionnaire here .
Rated PG
for some thematic elements and brief smoking.
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