French filmmaker Céline Sciamma’s films are strikingly afresh but not that straightforward. Portrait of a Lady on Fire is still fresh in my mind. Petite Maman (Little Mother) is full of love and sorrow of unfinished business with dear ones no longer alive. Such a deep understanding of wounds and ways of healing! Mixed feelings trouble and soothe my heart at the same time.

Walking back in time sets the future in Petite Maman. Being in the countryside house of her deceased grandmother, Nelly (Joséphine Sanz) realizes things are not settled well between the dead and the alive ones. The last goodbye wasn’t good. Walking in the woods backyard, Nelly meets Marion (Gabrielle Sanz) and helps her build the hut. The two play, act in their little dramas with heavy subjects and cook pancakes. Cinematographer Claire magnificently captures the sheer beauty of this childhood bonding and joy. The aura of real-life sisters Joséphine and Gabrielle on-screen is hard to escape. How mature and emotionally intelligent are these girls in their roles…I can’t explain it in words.

Sciamma artistically blends the adult Marion, Nelly’s mother, and the wounded kid in her in the same house through a game. The girls look so similar to us. Whatever was left to be spoken and cleared is happening in the present. In its deepest layer of understanding, one says to the other –You didn’t invent my sadness. I am sure, these lines are lost in translation.

Nelly silently admits her mother Marion (Nina Meurisse) doesn’t prefer to be in that house they try to sell off. Even the simple conversations between Nelly and her dad (Stéphane Varupenne) have layers. Is it the measured words or the skilled director behind those poignant pauses that make our hearts bloated?

Céline Sciamma never allows her characters to be loud with their emotions. She employs an empathetic approach to set them free from the known, yet hidden injuries. It’s a two-way introspection and self-healing in fairy tale mode. Beautiful!