Berlin film festival – Smaller Pictures

One of the most anticipated films that was shown at this year’s London Film Festival is Céline Sciamma’s Petite Maman. A beautiful exploration of memory and home, the film follows Nelly (Joséphine Sanz) whose grandmother recently passed away. With her parents, Nelly spends time in her mother’s childhood home as they make the appropriate arrangements. When Nelly meets another girl who lives nearby, it becomes clear that not everything is as it seems and we delve into a tender story about family and memory all from the perspective of a child. The two girls build a tree house in the woods near their houses and a bond forms that makes it incredibly charming while also incorporating hints of magic realism without going too far off the ground.

The film is written and directed by Céline Sciamma who has become one of the leading female directors in France and with good reason. What makes Sciamma such a fantastic filmmaker is her ability to create such well-rounded female characters and use the camera as a way of showing the female perspective. With films such as Girlhood (2014) and Portrait of a Lady on Fire (2019). In Petite Maman, Sciamma manages to create a world that feels magical without venturing into fantasy territory by ensuring that the film is grounded in its reality on a narrative level. Combining this with the childlike perspective adds an extra layer that allows the audience to see the magic in the banal things whether that is through the girls making their tree house or watching them make pancakes.

Leading the film are twins Joséphine Sanz who plays Nelly and Gabrielle Sanz who portrays Marion. Naturally, the girls make for a fantastic onscreen partnership and the genuine friendship and sisterhood they share in real life only helps to elevate the story even more. Despite their young age, both performances seem to have a depth and maturity that exceeds their years. As the lives of the characters seem to mirror and reflect one another, their lives become intertwined. Both Nelly and Marion are initially portrayed as lonely characters as they are both only children who don’t have a lot of friends their own age but together, they become pieces of the same puzzle and through spending time together, the characters begin to learn more about themselves.

In support, we see Nina Meurisse portray Nelly’s Mother and although her character isn’t in the film as much as you would initially think, there is a lot to unpack. Nelly’s Mother is a character tormented by her own grief and trauma all while trying to stay positive for her daughter. When staying in the childhood home, it’s clear that she struggles to cope with all the memories that the home has. Her absence is felt through the film as Nelly is forced into isolation before meeting Marion.

Petite Maman is one of the most tender and poignant films of the year thanks to its intricate glimpse of life through the eyes of a child. The wonderous direction and writing show just why Sciamma is one of the best filmmakers working today.

Petite Maman is showing at this year’s London Film Festival!

It’s an accomplishment for any filmmaker to be able to showcase their work at London Film Festival; however, for Japanese director Ryusuke Hamaguchi, he has two films showing at this year’s festival. With his adaptation of Drive My Car sweeping awards at Cannes Film Festival (you can read my review here), his second film Wheel of Fortune and Fantasy took the Silver Bear Award at this year’s Berlin Film Festival meaning that we are gifted with two exceptional films from the visionary filmmaker. The latter is an anthology film split into three segments centred on women and their lives in modern day Japan. The results are a fantastic glimpse into Hamaguchi’s solid character work and his ability to bring out the magic out of everyday life.

As expected, Hamaguchi’s direction and writing is seamless and organic, proving that he is a filmmaker who isn’t going anywhere. His use of long takes filled with dialogue between two characters can be intense and slow paced but works perfectly for the kind of films he wants to make. His ability to get into the characters’ heads and bring forth their motives in a way that is completely natural while making it seem effortless is exactly why he has been sweeping the awards panels off their feet. Showing the magic in everyday life may seem boring but what Hamaguchi does is create characters who are completely relatable whilst also allowing the audience to build their own interpretations and emotions on top of it. Wheel of Fortune and Fantasy proves his talent for writing well-rounded female characters who have agency and are unaware of their sexuality without objectifying them at any point. He isn’t afraid to be daring in the topics he explores and seems to allow the characters to develop in an unpredictable way.

The film’s first segment is titled Magic (or Something Less Assuring) which follows friends Meiko (Kotone Furukawa) and Tsugumi (Hyunri) as they leave work for the day. The latter is discussing how she has found someone she really likes called Kazuaki (Ayumu Nakajima) who just so happens to be the former’s ex-boyfriend although she doesn’t know this. What follows is an intricate love triangle as Meiko realises she is still in love with Kazuaki and tries to win him back before he gets serious with Tsugami. Furukawa’s performance as Meiko, in particular, is unsettling as we see her discomfort as she realises the situation that has found herself in. Meiko’s encounter with Kazuaki shortly after leaving Tsugumi is gripping and unpredictable with both Furukawa and Nakajima visibly going through a whole spectrum of emotions after their relationship ended negatively two years earlier.

The second segment is titled Door Wide Open and is by far the most explicit and darkest inclusion of the three films. The film centres on Nao (Katsuki Mori) who agrees to seduce a reputable professor, Segawa (Kiyohiko Shibukawa) after the latter humiliates her partner, Sasaki (Shouma Kai), a student who has failed his class. Like the first segment, it appears that there are three pieces of the puzzle moving and this one dives even deeper in terms of its complexity. Segawa is a renowned author and Nao’s method of seducing him is reciting an extract from his book in which there is an extremely detailed sexual encounter between characters. Never taking her eyes off Segawa whilst reading, we see the discomfort in both characters as the tensions rises in conjunction with the sexual tension from the excerpt. Mori’s performance is unapologetically fearless and completely gripping as we see the shift in control change constantly between Nao and Segawa. There are also discussions to be had of the gender constructs in this segment as well. Having a female character read the relentless sexual description of the writing from the male professor gives the former power of the situation, taking it from the professor in a bid to humilate him by using his own words against him.

The final segment is entitled Once Again and follows Moka (Fusako Urabe) who meets Nana (Aoba Kawai) at a train station believing that she was once her first love. Nana is flustered by Moka’s approach and is equally happy to see her. However, it later emerges that Nana isn’t who Moka thought she was and both women had mistakenly thought that the other was someone else entirely. The situation gives a chance for both characters to divulge into past traumas and find an outlet for its release to the other, despite being perfect strangers. Urabe and Kawai work fantastically together and we really feel their genuine connection as the events of the film develop. Even when it turns out that the characters don’t know each other, it doesn’t seem to matter and allows us to delve deeper into their backstories.

The only connecting thread that weaves these stories together is the music which is a light classical number by German composer Robert Schumann. The score is simple and romantic in style, fitting the themes of love perfectly as each woman shows their love in a different way. Even in the scenarios where there are dark undertones or an unhappy ending, the music serves to bring the audience back into the narrative of the film as an anthology and helps to move them along to the next segment. It’s a simple yet effective way of ensuring that these segments have some form of connection and helps to avoid alienating them as three completely separate films. After all, they do serve as a consistent triptych of the female perspective in modern day Tokyo which gives a basic common ground between them.

Overall, Wheel of Fortune and Fantasy may be a jarring view for some due to its anthological narrative but it is a testament to Hamaguchi’s skill as a writer and director that he is able to work with so many different kinds of characters and somehow find the humanity in them, showing that not everything is in black and white or good and evil. With each segment lasting 40 minutes each, we are really able to delve deep into the characters’ psyches and are able to explore their perspective of the world in a short amount of time.

Wheel of Fortune and Fantasy is showing at this year’s London Film Festival!