Céline Sciamma's follow-up to 'Portrait of a Lady on Fire' is an enchanted mother-daughter drama that draws inspiration from Hayao Miyazaki.
Which is not to say that there’s nothing left for Marion and Nelly to discover about themselves or each other — quite the contrary. Marion has just lost her own mother after a long illness, and in the days that follow, she and her husband go about the solemn task of cleaning out the house in which she grew up.
From this simple, suggestive conceit — and also from the warm, autumnal hues of Claire Mathon’s exquisite images — Sciamma weaves an enchanted reverie, a mystery in miniature that hums with resonance and implication. “Petite Maman,” recently named the best non-English-language film of 2021 by the, surveys the landscape of childhood with a clear-eyed wonderment worthy of Victor Erice and Hayao Miyazaki.
It also instinctively grasps — and draws inspiration from — the creative logic of children at play. Nelly and Marion spend much of their time together devising games, whether they’re working on the large conical hut that Marion built in the woods or acting out a hilariously elaborate murder mystery. “Petite Maman” itself plays a kind of game with the viewer, and for all its aversion to exposition, it’s deft enough to lay down a few ground rules.
The casting of the Sanz sisters is a bold formal coup that initiates a curious line of inquiry. Their characters are distinct people with distinct childhood experiences: The 8-year-old Marion, we learn, is about to undergo a medical procedure, and her father, unlike Nelly’s, doesn’t appear to be in the picture. But what binds them seems no less significant: not just the same face, voice and gestures but a common curiosity about the world, a shared capacity for exuberance and melancholy.
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