After her previous film, Portrait of a Young Lady on Fire (Portrait de la jeune fille en feu, 2019), was met with towering success, Céline Sciamma entered the rank of those filmmakers whose new films are hotly anticipated. The pandemic, however, has forced many much-awaited projects to be put on hold, or, at the very least, prompted their creators to rethink their scripts - as is the case of Radu Jude’s new film - but, at the same time, it also proved to be a challenge which prompted directors who still wanted to practice their craft in spite of the period’s difficulties to think of new kinds of projects. The latter case is that of Petite Maman - even though Sciamma started working on its script during the international tour of her previous feature, the filmmaker resurrected the project after the lockdown in France was over, and the result is an intimate and touching drama, which, in spite of its relatively short runtime (72 minutes), manages to reach the furthest inner depths of its characters.

Flavia Dima

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Film critic & journalist. Collaborates with local and international outlets, programs a short film festival - BIEFF, does occasional moderating gigs and is working on a PhD thesis about home movies. At Films in Frame, she writes the monthly editorial - The State of Cinema and is the magazine's main festival reporter.

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