Petite Maman Review
Words by Casey Hynes
The world is a different place through the eyes of a child. As we grow, it changes before us and we change before it in the most subtle ways, so subtle, in fact, that we might not even realise there’s a difference. A Then and a Now. Because of this, it’s completely understandable why there are so many films which try to capture and understand the essence of childhood, and why there are so many that come close but don’t quite grasp it. Films like Sean Baker’s The Florida Project are rare, depicting the fleeting innocence and joy that only comes with growing up, without completely glossing out the not-so-fun parts.
Director Céline Sciamma’s latest work Petite Maman is one film that just gets this. Following on from the incredible success of Sciamma’s Portrait of a Lady on Fire, Petite Maman focuses on the young and curious Nelly (Joséphine Sans) as she and her parents clear out her mother’s childhood home, following the death of her beloved grandmother. One morning, Nelly wakes up to find her mother has left ahead of the family, leaving her with her father and what appears to be a newfound friend, Marion (Gabrielle Sans), who shares her mother’s name. Together, Nelly and Marion play happily together between their two identical houses, and over the course of the film begin to understand, in the ways only children can, some delicate subjects: death, loss, illness, and relationships.
Joséphine and Gabrielle Sans
As the film’s central focus, the tragedy of bereavement could easily have presented an emotional pit for Sciamma to fall into, but this is avoided as the director skilfully weaves together a story that can be universally understood. The film sincerely and beautifully captures loss and sadness without shovelling it on the audience, which is clearly seen in many little moments: Nelly and her mother sitting on the couch as Nelly shows her how she wished she had said goodbye to her grandmother strikes a strong chord, but delicately so, without being overwhelming. Sciamma avoids over-the-top emotions or overly grand gestures here; themes like these can be complex at their core, but are easily felt and understood by all, and perhaps by no one better than the young. Huge credit must be given to the actors, the Sans sisters and Nina Meurisse,for their soft but powerful performances.
Overall, Petite Maman is wonderful and remarkable for its stunning simplicity. No need for jaw-dropping camera shots, or mind-boggling set design. The film speaks for itself.
