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TIFF: Petite Maman

Nelly (Josephine Sanz) is playing in the woods by her grandmother’s house when she meets Marion (Gabrielle Sanz). The two eight year olds are the spitting image of each other and instantly bond spending all their free time together. Nelly is visiting the area as her parents clear out the house after her grandmother passed away. Her despondent mother has mysteriously left, leaving Nelly worried that she won’t come back. Nelly and Marion confide in each other, sharing their fears and sparking each other’s imagination. And as it turns out, they have more in common than meets the eye.

“I was already thinking of you.”

Marion

It’s difficult to talk about Petite Maman without revealing the twist. However, the title itself is the biggest spoiler. Directed by Celine Sciamma, this gentle  drama is as hopeful as it is melancholic. It explores the complexities of relationships  and the fleeting nature of childhood but in a very subtle way.

It’s only 70 minutes long and while that seems short, it’s really the perfect amount of time to tell Nelly and Marion’s story. I like how Sciamma hints at Nelly’s gender expression  with a few of the scenes. This film reminded me of Sciamma’s Tomboy which also focuses on a child on a journey of self-discovery. Petite Maman might now wow audiences like Portrait of a Lady on Fire but it will  tap into some emotions that lie just beneath the surface.

Petite Maman is part of the 2021 Toronto International Film Festival’s Special Presentations slate. 

Update: Petite Maman will be distributed by Neon.

Posted Female Filmmakers

TIFF: Portrait of a Lady on Fire

It’s been a long time since Marianne (Noémie Merlant) saw her own painting entitled Portrait of a Lady on Fire. When one of her art students brings out the portrait it stirs memories of its subject. Years ago, Marianne was hired by La Comtesse (Valeria Golino) to draw a portrait of her daughter Héloïse (Adèle Haenel). The painting was to be part of her dowry when she married a wealthy gentleman from Milan. But there’s a catch. Héloïse can’t know she’s being painted. La Comtesse comes up with a ruse to hire Marianne to be Héloïse’s walking companion. As the two take sojourns Marianne studies Héloïse features and even has the house servant Sophie (Luàna Bajrami) pose as Héloïse. As the two bond its clear to Marianne that she is falling in love with the difficult and tortured Héloïse. Both are destined for other things and must make the most of those precious days together.

Courtesy of TIFF

Portrait of a Lady on Fire/Portrait de la jeune fille en feu is a stunningly gorgeous and mesmerizing film. It’s pure poetry. The way the camera frames Marianne and Héloïse makes it look like we are in a living breathing work of art. Noémie Merlant and Adèle Haenel bring an intensity that is simply awe inspiring. Director and writer Céline Sciamma offers up a lesbian love story that feels honest and true. The film is so intimate that it made me uncomfortable and almost vulnerable in a way that was exhilarating. There are no real male characters. This is a world of women and women only. The sex scenes are highly subversive and real. It’s really unlike any romantic period piece I’ve ever seen. 

Portrait of a Lady on Fire had its Canadian premiere at the 2019 Toronto International Film Festival as part of their Special Presentations series.