Àma Gloria

A little girl's nanny is forced to move to her home country, as her mother has just died. The nanny is from Cape Verde. For the little girl, this is a heartbreaker, as her mother has died, and her nanny is an important part of her life. Her father sends her to her nanny's house for the summer vacations, where she learns to live with the nanny's real children, and is confronted with her nanny's everyday life, whose concerns are different from her own, and her everyday life in another universe.

The film's greatest quality is the formidable Louise Mauroy-Panzani, as full of emotion and subtlety as the film itself. Even if the dramatic progression is not subtle, it's easy to guess: the dramatic cells maraud between each member of the family. His daughter, her son, the nanny herself, each always interacting with the little girl.

The film contains an interesting formal idea: the use of cartoons for the transitional montage sequences. This provokes the viewer's curiosity while advancing the drama. In eighty-three minutes, the director conveys a multitude of subjects and micro-dramas, without appearing slapdash, and often eliciting emotion from the viewer.