#Petite maman

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Petite Maman (2021) dir. Céline Sciamma

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FILMS IN 2023: → Petite Maman (2021) — dir. Céline Sciamma

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🎬 Petite Maman 2021, dir. Céline Sciamma

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all time favourite movies:

petite maman (2021), dir. céline sciamma

[maaarine]

Petite Maman (Céline Sciamma, 2021)

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Petite Maman (Céline Sciamma, 2021)

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PETITE MAMAN (2021, dir. Céline Sciamma) has entered the Criterion collection! Sciamma’s follow-up to PORTRAIT OF A LADY ON FIRE transcends time and space to weave a delicate fable about grief, family, and connection across generations. New cover by Carson Ellis

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my parents didn't invent my sadness

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my favorite films of the year

banshees of inisherin // emily // aftersun // tár // fire of love // bones and all // after yang // petite maman

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managed to go like 12 years of my life never crying while watching a film....watched two cèline sciamma films this summer and so far two times out of two i've been ugly crying, unrestrained sobbing, tears running down my face snot etc

'you didn't invent my sadness' absolutely finished me

[vampire-cenobite]

Jesse Reeves, The Sparrow

Jesse Reeves, nicknamed “the sparrow”. The girl whose mother died in childbirth, born lucky.

Jesse, who grew up in the company of a kind little girl named Miriam.

Jesse, who when she discovered her clairvoyance, was comforted by Miriam, who assured her that the ghosts couldn’t hurt her.

Jesse, who discovered that this mysterious girl who she had grown up with, was the ghost of her own mother.

Jesse, who on the brink of death was once again comforted by her mother.

Jesse, who as she was turned by Maharet into a vampire, had to say goodbye to her mother.

[everythingmaxriemelt]

Films I like in 2022 (some weren’t released in 2022 and I haven’t seen most of the newer films in other Best of 2022 lists)

So in no particular order:

1. Decision to Leave (dir. Park Chan-wook)

2. Petite Maman (dir. Céline Sciamma)

3. Flee (dir. Jonas Poher Rasmussen)

4. The Worst Person in the World (dir. Joachim Trier)

5. Great Freedom (dir. Sebastian Meise)

6. Speak No Evil (dir. Christian Tafdrup)

7. Everything Everywhere All At Once (dir. Dan Kwan & Daniel Scheinert)

8. Red Rocket (dir. Sean Baker)

9. Nope (dir. Jordan Peele)

10. Thirteen Lives (dir. Ron Howard)

Other films I also like in 2022:

Benediction (dir. Terence Davies)

Black Phone (dir. Scott Derrickson)

All Quiet on the Western Front (dir. Edward Berger)

Licorice Pizza (dir. Paul Thomas Anderson)

Hustle (dir. Jeremiah Zagar)

[zodgory]

Which director's filmography would you rather listen to a series of podcasts about?

Consider also voting on the actual poll at Blank Check’s website

Current standings

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Petite Maman (2021) dir. Céline Sciamma

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Seen (again) in 2023:

Petite Maman (Celine Sciamma), 2021

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Time loop: Twin sisters Joséphine and Gabrielle Sanz as mother and daughter in ‘Petite Maman’ © Alamode Film

Interview with Céline Sciamma:

“Alliances are extremely important”

An interview with French director Céline Sciamma about her new film ‘Petite Maman’ and the power of women.

By Susanne Lintl, kurier.at, 17.03.2022

[T]ranslated by @thexfridax

Whenever a French film succeeded in the past couple of years, it was very likely that she was involved in it: Céline Sciamma, born in 1978, does not only write excellent screenplays (among others for Jacques Audiard’s great suburban documentary[sic] ‘Les Olympiades’ or for André Téchinè’s ‘Quand on a 17 ans’); with her own films, she’s also become one of the most important voices in the European auteur cinema in the past 15 years. In her new film ‘Petite Maman – When we were children’ (coming to cinemas as of Friday), the follow-up to her multi-award winning female drama ‘Portrait of a Lady on Fire’, the staunch feminist and Lesbian (she was in a relationship with Adèle Haenel for a long time) goes on a tender journey of childhood. At the house of her recently deceased grandmother, an 8-year old girl meets her mother who happens to be of the same age, and finally begins to truly understand her through joint talks and activities.

“It was my idea that a child meets a young version of her mother. Children are a good topic in cinema, because they are precise observers. Vital analysts of their environment and of course of their parents. In a certain way, it makes you come alive, when you observe them. Children are curious and have their own perspective of the world. Instinctively, you think about your own life, your own experiences as a child,” says Sciamma in the interview with the KURIER[.] Of course, she’s borrowed from her own childhood: “There were many connections. First of all, I made the film in the city, where I came from, in Cergy-Pontoise. The house and the rooms are based on my grandmother’s house, which I remember very well. It’s made a lasting impression on me, because I felt comfortable at her place. Grandmothers are key figures for children, especially for girls. When they die, it’s a turning point, a terrible break.”

Céline Sciamma, renowned French screenwriter and director © APA/AFP/JOEL SAGET

Have you also built tree houses as a young girl? - “Yes, I loved doing that. We have also filmed in the woods, where I played as a child.”

In ‘Petite Maman’, Nelly and Marion grapple with reality while building tree houses or playing together, thus getting to know each other. The encounter with the past and her mother’s 8-year old self, makes the present clearer for Nelly. She understands why her mother often feels so sad. “She suddenly sees [T: cue KT Tunstall] her own history through a new lense,” according to Sciamma. A touching scene, where Nelly tries to dispel her mother’s fear before a major surgery, knowing full well that she will get through it: “Everything will be fine”.

Céline Sciamma likes films with and about young people, coming-of-age films that tell the stories of childhood, its loss during adolescence and how this leads to disorientation. ‘Water Lilies’ or ‘Tomboy’ are about this difficult search for identity. Her heroes are always women – they have shaped her, rarely disappointed her, and supported her during difficult times.

Building a tree house with your own child-mother: ‘Petite Maman’ © Alamode Film

“When I look back, then I see that alliances with women were extremely important for me. Alliances that I forged right at the beginning of my journey. With people, who are still present in my life. Especially with my producer Bénédicte Couvreur, who I knew since my film studies. You have to know who to rely on, otherwise you won’t make it.”

Sciamma is one of the initiators of Collectif 50/50, a feminist collective, which aims at promoting gender equality as well as sexual and gender diversity in cinema and audiovisual media. “A powerful alliance often doesn’t look very mighty, but it doesn’t matter. Stick together and believe in your generation, then we are strong. That’s what I want to tell women”.

Next, Sciamma would like to do “something international”. A film, which is not based in France. “I need to try something new. Experiment. Try out something different”. Sciamma hints at the direction this may go. She is an ardent admirer of the Japanese anime master Hayao Miyazaki, [of whom she says] in the US film magazine ‘Little White Lies’:

“I love his masterpieces like ‘My Neighbour Totoro’ or ‘Spirited Away’. It would be wonderful if I could make a film like that”. ‘Ma vie de Courgette’, for which I wrote the screenplay, was already an animated film”.

To better understand your own mother: ‘Petite Maman’ © Alamode Film