![]() ![]() A surly Cesar feels the injustice of having been abandoned. The move allows Cleo and the viewer to consider Gloria’s life and what she had left behind. Cleo is so distraught at their parting that her father allows her to visit Gloria for one last summer together in Cape Verde. Now, she must leave Paris and return to Cape Verde to care for her own children Fernanda (Abnara Gomes Varela) and Cesar ( Fredy Gomes Tavares). Mauroy-Panzani’s Cleo is smart and shrewd, peering out at the world from behind large glasses and secure in the knowledge that she is safe and loved.Įverything changes when Gloria receives a call informing her that her mother has died. The classroom scenes call to mind Nicolas Philibert’s To Be And To Have (2002) and the film’s early scenes have a documentary-like intimacy. Amachoukeli favours extreme close-ups, letting the camera closely observe the fond interactions and precious looks exchanged between the child and Gloria. The smile of joy when Gloria is there to greet her at the school gates says everything. She is the one who plays with her, who makes her giggle, puts her to bed and always kisses things better. Cleo’s mother died of cancer and she lives with her loving father Arnaud (Arnaud Rebotini) but it is Gloria who cares for her. The film instantly establishes that nanny Gloria (Ilca Moreno Zego) means everything to little Cleo, played by the extraordinary Louise Mauroy-Panzani. All that experience shows in a finely judged second feature that packs a lot of tender feeling and complexity into its modest running time. Packs a lot of tender feeling and complexity into its modest running timeĪmachoukeli won the Camera D’Or at Cannes as co-director of her debut feature Party Girl (2014) and has a varied career since that ranges through short films, television, an installation for the Opera De Paris and serving as script editor on Julia Ducournau’s Raw (2016). Careful handling should reward arthouse distributors in the wake of the film’s world premiere as the opening gala of Critics Week. ![]() It is a small film, but one whose subtle touch and generous spirit proves captivating. Acutely sensitive to the churning emotions of childhood, this autobiographical tale has a clear affinity with Celine Sciamma’s Petite Maman (2021) and was made by Sciamma’s production company Lilies Films. 84minsĪma Gloria is quite the heartbreaker as writer/director Marie Amachoukeli confidently traces the intense bond between a six year-old girl and her beloved nanny. ![]()
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