Petite maman

'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.

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.

... just like eight year old Nelly, whose vivid imagination is brought to life when she meets her doppelganger Marion after her mother absents herself from her life for a few days. Beautifully filmed and acted, it may get you reflecting on your own perceptions of the world when you were that age or even as you got older, if you were lucky enough to carry that imagination with you.

Petite Maman is a warm bundle of cinematic magic. Director Celina Sciamma's French coming of age sci-fi hybrid never gets too bogged down in tedious specifics of its fantastical set-up. Petit Maman bends time to tell the story about the bond between a daughter and her mother that transcends it.

Petite Maman, which I had the pleasure of seeing at the Middleburg Film Festival, centers itself around a little girl named Nelly (Josephine Sanz) and her family, reeling after the death of a loved one, as they spend some time in Nelly's mother's childhood home. Nelly's mother leaves the family behind in the midst of the immense grief she's suffering, leaving her husband and daughter with little idea of when she'll return. In the meantime, Nelly ventures into the woods, where she meets and begins to pal around with a young girl, who she learns, by some twist of cosmic fate, is a much younger version of her own mother, who faces trials of her own. A single stretch of woods bridges decades between them. Together, they try to help each other cope in these moments of personal turmoil and Nelly can maybe get to understand why her mother left and what she's going through. This movie quite literally follows its two leads after their meeting, making food, building forts, making believe. Petit Maman uses those pastimes of youth to hit audiences with a surprisingly layered exploration of something as monumental as grief from a kid's perspective.

I loved, loved, loved the setup of this movie-it doesn't ever seek to explain how Nelly and this younger version of her mother meet in terms of time and space, but it uses that heightened concept to speak to something more human. Here, two children reckon with fear and their powerlessness in the conflicts they face, and in the comfort and security they give each other lies the courage to face them.

The lesson of Petite Maman is just to be there for the people you love in times of great difficulty.

I give Petite Maman 3.5 out of 5 stars and recommend it for ages 5 to 12. It's an understated, but moving little gem that I hope doesn't escape people's radar. By Benjamin P., KIDS FIRST!

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.