The 40th annual Vancouver International Film Festival wraps at 11:59pm this Thanksgiving Monday evening — and that will be it for another Festival year, although what is now termed the VanCentre Complex (3 theatres now available in the complex that used to house just the glorious Vancity Theatre — which remains, just in case you thought that wasn’t the case) — with VIFF Connect a year-around fixture for this next year, and probably long after that into the many years to come.
On Sunday, VIFF presented two screenings of Céline Sciamma’s exquisite Petite Maman, Sciamma’s beautiful fairytale reverie, at the welcoming Vancouver Playhouse — occasioned by the dual mysteries of memory and the future — the film emerging as a resonant, profoundly moving and elegantly made small scale, but wildly effective opus for the 39-year-old French filmmaker, the dappled forested backdrop a thing of pensive beauty, the coming-of-age story at the centre of the film an example of the way cinema can make memories real, without losing their bitter honesty, and dreams, without compromising on their glowing promise.
Without a doubt, Céline Sciamma is the finest director working today, anywhere across the globe, her body of work — Tomboy (2011), Girlhood (2014), Portrait of a Lady on Fire (2019), and now Petite Maman — unrivaled in the pantheon of modern cinema, each film profoundly moving and filled with heart, must-sees for any cinephile worth their salt, simply the finest examples of what cinema, in the right hands, can achieve in moving all of us forward towards a better, fairer world.
Here’s what Barry Hertz, arts & entertainment editor at The Globe and Mail had to say about Petite Maman, when it screened at the Toronto International Film Festival last month …
Well, this is an unexpected and wonderful surprise. Two years ago, French director Céline Sciamma knocked TIFF audiences out with her powerful and grand romance Portrait of a Lady on Fire. Switching gears, the filmmaker goes small, in all the right ways, for her pandemic-shot follow-up, Petite Maman.
A lovely, delicate look at the bridge between parents and their children, the film follows one lonely little girl who, while visiting her grandmother’s old country home, encounters a version of her mother as a young girl at the same exact age, through some unexplained feat of magical realism.
Featuring wonderful performances from twin sisters Joséphine and Gabrielle Sanz, and also the cutest little murder-mystery game you’ve ever seen, Petite Maman hits all the right notes, creating an epic in miniature. One warning: It may leave you a blubbering mess.
There is one final VIFF screening of Petite Maman— as always, click on the preceding link to be taken to the VIFF web page to book your ticket — scheduled for this evening at 8:30pm on this Thanksgiving Monday, at the Kay Meek Arts Centre, located at 1700 Mathers Avenue in West Vancouver, easily accessible by both car or bus (there’s a bus stop just outside of the arts complex). Highly recommended.
