It deals with a universal topic in a captivating way

"Little Mother" .. the best film that explores the relationship between a mother and her daughter

• French writer and director Céline Sciama.

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Our lives pass between two contradictions. When we were children, we rushed the time to grow up, and when we grew up, we became frightened by the speed of the passage of time, and we wish it would slow down;

So that we do not grow old and end our lives quickly.

Describing life, the peoples said: It is a moment.

French writer and director Céline Siama understands this idea with her powerful performance Petite Maman.

The duration of the film is 72 minutes, and this short duration is usually for films in which studios interfere a lot, and you know if you were an experienced viewer that something big happened in the editing room, and the director was forced to delete many clips.

But the matter is different here, as the film is French, and this is not Hollywood, the short duration here is deliberate - we note that this is not a short film, as the short films do not exceed an hour - perhaps for reasons related to the style of the film’s narration that ends suddenly in front of the eyes as if it was somehow made Say and do.

The themes of the film are many, such as the death of a parent, a childhood illness, grief, and guilt when someone dies leaving behind an unfinished business, but they are all set in a different context than they would in a regular movie.

In any ordinary movie her presence would be painful, but here and this is a film that swims in the imagination of a child, the mentioned elements are presented in a comfortable context for the viewer.

The "Little Mother" also acknowledges an idea that does not cross the mind after he has passed the stage of childhood, which is the acceptance of the concept that a magical thing may not only happen, but can be accepted without questioning it.

wild fantasy

The film's heroine, Nellie (Josephine Sanz), discovers something amazing in her mother's childhood backyard.

Instead of questioning or questioning, it goes along with it.

She is at the age of wild imagination, the age when you find the child talking alone, and when you ask him who are you talking to?

My friend tells you so-and-so who is sitting there, and of course there is only in his imagination.

Siyama gives the viewer confidence to go with Nellie now, and ask later.

In this part of the film, do not ask, do not question or doubt, just go with the child and stop the disbelief process. This is not a film that raises a question, but rather is to accept an issue that will be unbelievable, meaning whoever watches it but you have no other choice but to accept it, and if you search For explanations, you will be frustrated.

Siyama employs the same visual narrative style in her previous film, Portrait of a Lady On Fire, telling of the close relationship between Nellie and Marion (Nina Morris) in the scene on the way to Marion's old house.

The camera stays focused on Marion Wade Nellie framing the shot, feeding her the crackers.

The movement is repeated again and again more than we expect.

The scene is funny when a baby's hand feeds an older woman's mouth in contrast to the well-known activity that occurs between a mother and her child.

Siyama then goes straight to the viewer's heart when Nellie hugs her mother's neck and the scene ends.

Marion goes to clean her mother's house.

When the movie begins, he tells us without "chatter" that her mother has passed away.

Nellie walks into a house that appears to be owned by an old man and says goodbye to several women before entering an empty room where we see a stick.

Siama prepares the scene in which we see the stick in the hand of its owner, which is not a retrospective scene.

Nellie says to her mum I couldn't say goodbye.

And her mother tells her you always say goodbye.

Nelly replies but the final farewell was not good.

That scene is cruel!

There is no good farewell in the presence of death, because it is simply the last and not repeated.

It comes as no surprise that Nelly gets a second chance to sweeten her farewell, but Siyama resists the temptation to overdo it.

Sans performs the farewell scene without attempting to perfect it, but rather as another opportunity to repeat the farewell itself.

There is beauty in the idea of ​​giving back to Nellie, and "Little Mother" is full of shots like this, shots of indifference that allow the viewer to embrace it without invoking feelings.

It means that the viewer is the one who fills in the blanks.

Adventure

Siama uses Indigo's grandmother's death as a springboard for an investigation into the relationships between mothers and daughters.

Like Nellie, we don't know much about Marion's childhood nor her relationship with her mother.

When Nellie asks her father (Stefan Varuban) about the forest and castle that Marion built when she was a child, Marion dismisses Nellie, telling her that it is a child's play and shouldn't arouse any interest.

Nellie replied: I am interested, I am a child.

In the woods surrounding her grandmother's house, Nellie discovers a girl her exact age, Marion (Gabriel Sanz), after her mother's name, and is building a castle, much like baby Nellie.

Of course Josephine and Gabriel Sanz are actually sisters.

When Marion invites Nellie home, she brings her to the same house that Nellie left when she went out into the woods, but from a different path.

Notice Sanz's surprised reaction, when she presses a section of the wall and a secret door reveals to her.

She discovers that this was a leap into the past, and after a little hesitation she decides to pursue adventure wherever she takes her.

The film has a strength, charm, and originality that we rarely see in today's films, and it is a cinematic masterpiece because it addresses a cosmic theme in a captivating way.

To view the topic in full,

witch worker

The film "Little Mother" does not play with the charming or captivating factor in it, nor does it separate it from the sad and dark side of it.

Little Nellie tells Marion that the first is the second daughter, and also tells her that she knows about Marion's surgery the next day.

Little Marion asks Nellie for more information, and then the two girls bond in a way that wouldn't be possible if the relationship between a child and her mother was of her real age.

In other words, imagine if you met your father or mother when they were children, what would your relationship be like?

This is what the movie means.

72

Minutes, the duration of the film somehow made less and less.

Go with the child and stop the disbelief, this is not a movie that raises a question.

The work is full of indifference shots that allow the viewer to embrace it without spreading feelings.

It means that the viewer is the one who fills in the blanks.

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