ABSTRACT

Céline Sciamma’s fifth feature film, Petite maman, premiered at the Berlin Film Festival in March 2021. Shot in autumn 2020 during the COVID-19 pandemic, it is a brief film (72 mins) and a return to the work with child actors which typified Sciamma’s first two features, Naissance des pieuvres (2007) and Tomboy (2011). After the death of her grandmother, a child, Nelly (Joséphine Sanz), helps her parents clear out her mother’s childhood home. She meets another girl of her own age in the woods, Marion (Gabrielle Sanz), who turns out to be her mother as a child. Petite maman offers space for love and care between mothers and daughters and opens out feminist perspectives on memory and grief. Drawing on representations of the mother as a child in Roland Barthes, Sophie Calle and others, as well as discussion of memory and secrecy in the work of Anne Dufourmantelle, this article explores the reimagining of love between mothers and daughters in Petite maman.

摘要

席琳·席安玛的第五部长片《小妈妈》于 2021 年 3 月在柏林电影节首映。该片于 2020 年秋季在新冠肺炎 (COVID-19) 大流行期间拍摄，是一部简短的影片（72 分钟），是儿童演员回归的典型作品席安玛的前两部故事片《Naissance des Pieruvres》（2007 年）和《Tomboy》（2011 年）。祖母去世后，孩子内莉（约瑟芬·桑斯饰）帮助父母清理了母亲童年的家。她在树林里遇到了另一个与她同龄的女孩玛丽昂（加布里埃尔·桑斯饰），原来她就是她小时候的母亲。娇小的妈妈为母女之间的爱和关怀提供了空间，并开启了女权主义对记忆和悲伤的视角。本文借鉴罗兰·巴特、苏菲·卡勒等人作品中对童年母亲的描绘，以及安妮·杜福曼特尔作品中对记忆和秘密的讨论，探讨了《小妈妈》中母女之间爱情的重新想象。