I feel the movie would've become richer if script were to include adult Marion's inner turmoil, nevertheless a wonderful, delicate movie.

Enchanting.i had to watch it twice because I missed clues the first time around,

Saw it since it was on the SnS22 list. This one had its moments, but overall I was left wondering what the point was. It was an interesting reflection on grief, but it also had minimal dialogue and never took on much complexity. SLC library DVD.

Derivatively experienced wonder on one hand while an evaluated ode to childhood memories in mostly unemotional gestures as bland significance, but the other being the artistic redeeming quality in form of engaging ponder is seeing how simplistic the narrative has become in the situational angle as its own wonder. (B)

a simple and sweet concept in a short and sweet runtime.

Petite Maman, Celine Sciamma’s follow-up to Portrait of a Lady on Fire, is a story about love, loss, and the relationships we forge with our parents, among other things. After the death of her grandmother, a young girl visits her grandmother’s home with her parents to help clean it out. While walking in the woods, she inexplicably meets the childhood version of her mother and a younger version of the grandmother who recently died. It is a quiet, sensitive parable bolstered by Sciamma’s restrained but effective direction, strong performances, especially from the two young girls, and a story that, while it really doesn’t make much sense, somehow manages to hit all of the right chords. Suspend disbelief, if possible, and enjoy the journey.

One of the most wonderful sweet movies l have ever had the pleasure to see

An utter delight. Even though it is an extremely short movie, it does manage to capture the slowness of time for children and the ease that they accept a world that is more magical.

Gorgeous film about the acceptance of childhood and that magic for them is as real as anything else. The girls playing Nelly and Marion are beautiful on screen. This is one of my favourite films in a long time. Especially how it frames grief through a child's eye. Magic.

Simple and deeply moving for viewers of all ages, "Little Mom" has emotional beauty in the way it positively portrays both the grieving process and hearing family stories.

Perfectly splendid. I adored this. A potential new favourite. "Secrets aren't necessarily things we try to hide. There's just no one to tell them to."

A minimalistic masterpiece. So simple, yet so powerful.

Es sutil pero logra penetrar tus emociones y ganarse un lugarcito en tu ser, estoy sin palabras.

A strong film that relies on circumstances and the acting to create the emotional power of the piece overall. Beautiful countryside setting and the appearance of the second little girl really adds some suspense--A great movie to watch on a fall Sunday afternoon. Nothing graphic/violent.

This is one of the most beautiful films I've ever seen. I especially like how the girls behave like real children and not the way children usually behave in Hollywood films. There is also no soundtrack until near the end, and it would have been better if it had been omitted. The two girls are so good that they effortlessly hold the viewer's attention on their own. I'm glad I own the blu-ray. I will return to this.

I found this movie too slow moving to engross me in the mystery of the film: time travel by a girl having a conversation with her mother as a child. It is supposed to be a sad exploration of life, love, and death, since it takes place after the child's grandmother died, as she and her mother and father are cleaning up the grandmother's home (where her mother grew up). But I did not find it particularly engrossing or moving, and so the movie seemed like a trick without much emotional impact on me.

Adorable and earnest rumination on a mother's grief from her daughter's eyes. Director Céline Sciamma's French family drama Petite Maman (2021) is so cute and sweet-hearted in nature. Sciamma's direction is very tender and intimate as we're just following a little girl act nurturing towards her mother, trying to empathize with why she's sad. I felt Petite Maman's motherly love and appreciation for parents as well as sensitive children. Sciamma's direction is remarkably subtle as she doesn't need to explain her neat woodland time travel at all, but just focuses instead on the emotional impact of a little girl meeting her mother at her age. Writer Céline Sciamma contemplates the effects that grief has on both a mother losing her elderly mother as well as a young daughter feeling estranged by her mother's sorrows. I liked how mature the little girls speak with an inquisitive and protective nature besides their innocent playfulness. Petite Maman has an affectionate warmth and gentle tenderness from Sciamma. I appreciate how nuanced and emotionally cautious each phrase comes across. I loved the line wherein the little girl version of the mother frees her daughter of any guilt saying, "You did not invent my sadness." Casting director Christel Baras found the cutest sisters to portray Nelly and Marion. It's fun to watch them play games or make a fort together and their emotional realness is astounding for child actresses. Joséphine Sanz is incredibly perceptive, cute, funny, and poignant as Nelly. She feels curious and aware of her mother's sense of loss all while seeking to comfort her in her time of need. I really appreciate this phenomenal child actress performance that can bounce from being serene and thoughtful to playful and silly as needed. Joséphine Sanz delivers a magnificent performance as Petite Maman's lead child actress. Gabrielle Sanz is also amazing as the ultra serious, then suddenly amusing Marion. Her young mother character is fascinating as she's aware of Nelly as her eventual daughter, but also as a friend to enjoy the pretty vast woodland. Their pleasant adventures through the forestry to the boat rowing in the pond are quite adorable to witness. I was most stunned by their maturity in subtle glances that let the audience know how they really understand grief as an inner sadness, but strive to overcome that pain with considerate behavior and comforting words. Nina Meurisse is gorgeous and devastating as the solemn, hurting mother Marion. I appreciate her kind gestures to her daughter to help her understand her inner agony. Meurisse portrays Marion with a quiet grace and silent expression of depression. Understanding Marion's dejection is the key to Petite Maman's emotional journey. Stéphane Varupenne is nice and caring as Nelly's father. He comes across as a loving husband and nurturing father just trying to aid his daughter in sympathizing with her mother's grief. Margo Abascal is very sweet as the grandmother in her youth with a tranquil isolation about her. Editor Julien Lacheray gently lets us see the significant moments of Nelly's playing or questioning, but then cuts quickly to the next key emotional event. I thought Petite Maman moved along briskly and only clocks in at a delightfully tight 73 minutes. Cinematographer Claire Mathon's lush wide shots show off the seemingly endless trees to the vast waters. The Maton's vibrant colors, bright natural lighting, careful blocking ensure all the numerous close-ups felt particularly moving. I liked how the interiors of production designer Lionel Brison's quaint French abode set look cozy. Set decorator Daniel Bevan put games as props and uniquely older furniture. Composer Jean-Baptiste de Laubier gives the scenes space as there is surprisingly little music in Petite Maman. When the massive synths kicked in during the boat ride, I felt breath taken. Sound designers Daniel Sobrino, Julien Sicart, and Valérie de Loof let the wind blow leaves and nature invites environmental stillness. It's like the whole world stops just for Nelly to meet her mother. Costume designer Céline Sciamma provides every actress with these cute knit sweaters in blue, pink, or grey. Everyone looks cozy in these soft outfits. Makeup artist Marie Luiset gives the little girls natural makeup looks and lets their naturally auburn to light brunette hair just flow. I loved the mother's ponytail with side bangs look that's so French. In all, Petite Maman is a wonderful film with considerate empathy for Sciamma's characters. I am in awe of both child actresses' refined performances that are wise beyond their years.

Very authoral project by Céline Sciamma, for which one has to suspend disbelief (time travel) at least one bit, try to become a child open to the wonders (even if the adults in the movie don't always seem to have a clue or maybe they just have a child's mind, too). Excellent, brief running time, sufficient to get the message across, especially about generations of mothers-daughters and overcoming death - and Dad also gets some moments to shine.

Breathtaking and beautiful!

American film critics lose their senses when it comes to French cinema, which lost its glow decades ago. It seems they want to prove how sensitive and sophisticated they are, so they go overboard with praise for films that are really a big artsy-fartsy nothing. And so for this one. I think I get what the director was trying to say, but in the end it is pretentious, emotionally flat, tedious, and fails to make a point. It is confusing rather than imaginative in how it combines fantasy and reality. The little girls are adult creations, not real people. It is cinematically uninventive and the acting is as dull as the film itself. But it's French, so the American critics invent all kinds of convoluted reasons to love it. Go ahead and watch it to see if I'm missing something, which I doubt.