Petite Maman

Starts slowly, but unwinds a beautifully simple, emotionally vibrant little fable that tugs at the heartstrings in silences and subtle exchanges—the film spends so long in the intimate quiet, centering the rustle of sheets and the slurping of cereal, that its anthemic moment of music is genuinely transcendent—and elicits the purest laughs in moments of delightful innocence. An exquisite picture perfectly and delicately formed.

For a film so obviously High Concept, it tells its story so beautifully simple and without any huge fanfares - set at that time in childhood when the big weird questions are understandable but not quite comprehensible, when you can talk about things without breaking them. And yes, I cried. Fits in perfectly in Sciamma's filmography next to Tomboy, stories of how experiences shape us and how we shape them, the malleability of life.

Feels like a beautifully rendered children's picture book. It is simple and elegant in language and form but rich in atmosphere and sensory experience. The primary conceit here is wonderful and I was hoping it would bring out some deeper inner truth or emotion, but it only moved me slightly. Sciamma seems to have directed the two sisters like she does the rest of her cast; big emotions riding under a calm exterior. In inexperienced hands acting like that just becomes preternatural calmness.

Haunting and meditative consideration of (oddly enough) similar familial dynamics to BACK TO THE FUTURE - a polar opposite in tone and intent, this is a quiet and subtle effort, marked by captivating performances from the Sanz sisters, combined with a thought provoking concept that pays off exceptionally well all the way through to a near-heartbreaking final scene. Structured like a ghost story, but without any chills; this is a genuinely lovely and surprising little gem.

It's rare to encounter a film these days that leaves you wanting more. Call your mom.

Sciamma seems incredibly fascinated by the power of the human mind - remember how the notion of visions and memory played a significant part in 'Portrait of a Lady on Fire' - and how in 'Petite Maman' our imagination can help us cope with certain events. As a film, it does feel lightweight and inconsequential, with a final scene didn't work for me but any film from her is worth a watch. The Sanz twins give adorable performances.

Gently explores the introductory influence of death on innocence and the reciprocal care of motherhood/childhood. Sadness is an individual dilemma but happiness is only real when shared.

Cool, elegant concept that strikes a quiet, confident tone. But it sure does take its time, doesn't hit a single profound note, and doesn't arrive anywhere particularly satisfying.

"You didn't invent my sadness"

Intriguing concept, but it feels like she doesn't quite know what to do with it. Yet while this stays just shy of greatness, it's still definitely worth a watch - it's pretty, Sciamma is as capable a director as any, and the two actors are fantastic!

Nope!

(The urge to have an 8-year-old daughter after watching Petite Maman)

This was just the loveliest little thing!!!!!!!!!! Could have it been a short? Yes. Do I care? SHUT UP IDIOT

Viewed October 6, 2021. The approach here is more Malle than Pialat, and the cutesiness of it all is cloying and distracting. Just like Portrait of a Lady on Fire, there’s an elegance to Sciamma’s framing and a restraint in the color palette that’s very appealing. Some of the kids’ antics did affect my cold dead heart (I liked when they tried to flip the pancakes). The movie’s final scenes reach for profundity, but it all seems too simplistic and overly sentimental.

I didn't have high expectations but, still, it was kind of a disappointment for me. Probably because Sciamma's previous film was a masterpiece. This one heavily relies on an idea. The story goes nowhere and just gets stuck on the idea of an encounter between daughter and mom. It is cute and charming for a start and provides some uplifting moments for the friendship of moms and their daughters. But seriously, it could have been told in a 30-min film.

Quite an original utilization of time travel, real or imagined, and a brave concept in general. Within its fantastical framework, though, it does feel very self-conscious of its own constraints, of having to be parabolic all the time. Which I think dooms it to being a small movie.

Marion: "I'm not surprised. Because I'm already thinking of you."

A magical, modern day fairy tale and French fantasy film. "Petite Maman" is a sad, small-scale family movie with heavy subject matter. Celine Sciamma's directing of scenes and actors is delicate, intimate and very subtle. The two child actors are terrific, but the film suffers from its short run time in developing its characters and its ending. The screenplay raises way too many questions with very little answers. Sciamma embraces the magic of cinema with no need for exposition or explanations.

Petite mysteres galore. Shame on Pixar: If you crave a movie you can watch and take your kids to, this is how you do it.

This is curious. What seems like a very low key touching drama goes somewhere you don't expect, and I found it doing things for me that I didn't really understand. I was tearing up without really knowing exactly why. We need more 73 minute movies. Not every movie has to be 150 minutes. I feel like I'm going to be thinking about it for a bit and trying to understand my reaction.

A lovely little movie about childhood and family relationships.

I guessed the concept from the title and poster alone and even if I quite liked the idea of it, I felt mostly bored. The movie never truly exploits it and is just way too slow and bare-bones for what it's doing. Also, the two twin actresses were just okay. Many viewers may not notice it because of the language barrier, but a lot of their delivery were very flat.

Promising? Maybe, i cant really grasp what i just watched. Could be innovative storytelling that is just way over my head. I guess it might work if you’re willing to accept that an eightyearold has the mentalisationlevel of an adult.

Cute movie that is a beautiful 73 minutes long which should be the case more often.

A fine example of bigger is not always better, but I haven't given it much thought after initial viewing.

Just wonderful performances from the sisters at the core of this. It is amazing what can be said in a mere 70-some minutes.

Sweet, cute and warm... and only 70 minutes! We need more movies like this.

I loved the texture of this film. It conveyed a strong sense of physically being there with the protagonist, who is largely disconnected from the people around her. The film moves slowly so as to encompass the sense of being deep in the forest or enclosed by the walls of the house. The sound is a big part of this. It's such a mindful film. At the end, the beauty of things as they are comes full circle in the narrative as well. I cried and cried.

a céline é foda

A very nice concept, though one that I felt could've been explored a bit deeper or even in a more extravagant way. But this small film keeps itself reserved, casually strolling along with little drama as it shows this unique interaction between the two girls.

Acho que a essa altura da carreira dela dizer que com Sciamma não tem erro é chover no molhado, mas dito e feito: mais uma pequena obra-prima em suas mãos. Não sabia nada sobre o filme e qual a minha surpresa que o petite maman é isso mesmo literalmente. Na Amazon Prime Video.

Simple et intriguant. Sans conclusion nette et tranchée, mais laisse rêveur.

This is a very gentle, quiet little film, and it elicited a gentle, quiet response from me. It's so restrained and pared down, however, that the kind of warmth one would expect to find here proves surprisingly elusive. It's certainly a lovely film with a lovely premise and lovely performances from its ensemble, but it feels almost sterile in its efficiency (this is a 72-minute film with sparse dialogue and almost no music).

n a film of great quietness and small gestures, Sciamma relies heavily on the Sanz twins’ ability to convey wordlessly subtle shifts in emotion. She chose them well. Both girls carry themselves with such unforced somberness that scenes in which they laugh and play convey the ease, naturalness, and depth of the characters’ newfound bond.

Annesinin ve anneannesinin gençliğiyle vakit geçiren kızımıza, Fransız Kurt Cobain baba rolünde eşlik ediyor.

Points for being cute and artsy and not for much else.

Gotta love how this mostly feels both plain weird and just absolutely cute. A simple story of shared trauma where a family goes to grandma's old house to clean up everything after she's passed, and the kid eventually meets a child's version of her own mom -- also already dealing with her mother's disease. Sanz twins' performances are brilliant.

Anne özlemi. Anneanneleri ölmesi sonucu, eski evlerine giden anne-kız, annesi evden ayrılınca, evde babasıyla tek başına kalır. Evden dışarı her çıktığında annesinin küçük yaşındaki hali ve anneannesini görmeye başlar. Harika 1 konu bulan Celine Sciamma, sempatik bir film yapmak yerine, iç karartıcı 1 film olmuş. Çok monoton. Filmin sonunda, Marion - Nelly. Ben annemi özledim. Hem annemi hem babamı hem de anneannemi özledim.