‘Petite Maman’ is a film about a beautiful and heartbreaking Childhood

An eight-year-old named Nelly (Joséphine Sanz) has just lost her elderly grandmother. Her mom (Nina Meurisse) is packing up everything in the house she grew up in, located on the edge of a forest. Dad (Stéphane Varupenne) is helping out the best he can. Nelly wants to comfort her grieving parent, but Mom keeps pushing away.

Eventually, she leaves to mourn on her own, promising to return to Nelly in a few days. In the meantime, the girl and her father will finish cleaning out the place.

Wandering around the woods — the same rural expanse where Mom played as a kid — Nelly comes across a hut. It looks like the fort that la mère described as her personal sanctuary of yesteryear. Soon, she meets another girl. Her name is Marion (Gabrielle Sanz), and the first thing you notice is that these two bear a striking resemblance to each other; the fact that the youngsters are played by siblings explains the how, but not quite the why.

Related post :

El juego de las llaves 2022

Ambulance 2022

365 días 2: Aquel día 2022

Marion invites her over to her house, which appears to be designed with nothing but vintage decor They make hot cocoa, play board games, pretend to be cops and robbers (or rather, Police Interrogator and Murderer of An American Who Works in a Coca-Cola Plant). Nelly gets to meet Marion’s mom (Margot Abascal). She’s happy to have a new companion in this limbo she’s stuck in. Still, there’s something about her new friend that seems extremely familiar

French cinema has a long, rich history of movies about the formative years, from Au Revoir Les Enfants to Zazie dans les Métro (and it’s worth pointing out that both of the Sanz sisters’ simple, no-frills performances are a huge part of making this are great addition to this longstanding tradition; they give you a genuine sense of childhood wonder, melancholy and joy). But there’s something about Sciamma’s enchanting, elliptical take on that period when the adult world feels like a mystery and innocence hasn’t been lost yet. While she isn’t trying to hide the narrative twist that swirls at the center of her film, Sciamma isn’t keen on explaining what’s going on either. That would distract from feeling she’s chasing, not to mention the bigger picture.