Petite Maman (2021)

The critic describes the film as a tender, subtle exploration of childhood and memory. The review praises its delicate treatment of those themes.

Kermode gives the film an ecstatic verdict, calling it an astonishing and heartbreakingly hopeful cinematic poem. He particularly praises how its time-bending conceit lets children and parents understand one another across generations.

O’Hara finds the film elegant, compelling, and enchanting, with a wistful but hopeful emotional core. She particularly praises Sciamma’s graceful visual storytelling and the natural performances of the young leads.

Ehrlich finds the film delicate, enchanting, and emotionally resonant, though its quiet scale may disappoint viewers expecting a bigger emotional impact. He praises Sciamma’s subtle handling of the distance between parents and children, especially in small everyday moments.

The critic finds the film captivating and deeply affecting, a transportive story about childhood, loss and grief. They particularly praise the Sanz twins’ performances and the joy of the scenes they share.

Chang finds the film quietly spellbinding and emotionally moving, praising its gentle, imaginative take on a mother-daughter bond. He singles out the Sanz twins’ casting and the film’s precise, beautiful images.

The critic finds the film an extremely small, precisely realized work that makes a moving meditation on love and grief. They praise its luminous filmmaking and the natural, joyful rapport between the young girls.

Lane calls the film a minor miracle, praising its imaginative reach and quiet emotional depth. He singles out the natural, unsentimental play between the young girls as especially charming.

Willmore praises the film as a perfectly scaled, quietly devastating miniature. She singles out the natural performances of the twin girls and the film’s delicate attention to childhood intimacy.

Brown finds the film wistful and powerful, though its restraint can feel over-calibrated. The review praises Sciamma’s visual economy and the way silent looks and absences convey the characters’ emotional lives.

Rooney finds the film a beguiling, beautifully restrained continuation of Sciamma’s work. He especially praises the young performers’ naturalness and the film’s sensitive attention to small gestures.

Newland finds the film a wonderful, painful portrait of the mother-daughter bond. She praises its delicate, unsentimental treatment of childhood play and the generations of maternal connection.

The review presents the film as poetic and touching. It praises Sciamma’s vision of childhood and mothering amid grief.

Variety presents the film as a slight but meaningful, warmly intuitive exploration of the bond between a daughter and her mother. It praises the casting of twin sisters, whose real-life connection gives the girls’ friendship an immediate sense of complicity.

Taubin presents the film as an elliptical, dreamlike fable about women’s intergenerational intimacy. The standfirst singles out those intimacies, but the provided text does not reveal further critical detail.

Ide presents the film as a delicate exploration of fragile mother-daughter bonds. The standfirst singles out that relationship as the film’s focus; the review’s fuller verdict is unavailable.

The page could not be accessed, so the critic’s verdict cannot be established. No specific element praised or criticized is visible in the supplied page text.

The critic considers the film practically perfect and praises Sciamma as one of the greatest living directors. They single out the girls’ easy acceptance of their time-warped friendship and the film’s understanding of childhood.

Dunn praises the film as an emotionally rich, wise fairytale despite its slim story and brief runtime. He singles out the simple, joyful scenes of mother and daughter meeting as children.

Bonaime finds the film a staggeringly gorgeous and tender fairy tale about loss and family. He especially praises the playful, heartfelt friendship between Nelly and Marion.

The critic calls the film a lovely, richly simple tale of loss and grief. They praise the tender friendship between the two girls and the child actors’ ability to carry its emotional weight.

The critic finds the film’s modest, child-centred story of time and family quietly spellbinding, with resonance beyond its small-scale setting. They praise Sciamma’s meticulous creation of a miniature, fairytale-like world.

The critic finds the film sensitive, delicate, and deeply moving. She singles out the Sanz twins’ unembellished performances and the film’s expressive use of small gestures.

McCarthy finds the film piercingly satisfying, unusually original, and emotionally perceptive. He especially praises the naturalistic performances of the Sanz sisters, while noting that some dialogue seems too sophisticated for the girls’ ages.

Wilkinson finds the film a moving, hopeful exploration of grief and parent-child connections. She praises its finely observed details and autumn setting, which she says gives the story colour and hopefulness.

Zigler finds the film a stirring, profound meditation on grief and the bonds between parents and children. She especially praises the twin Sanz sisters’ performances and the film’s vivid cinematography.

The critic finds the film emotionally resonant and praises Sciamma’s sensitive storytelling. The performances of the two young sisters stand out for conveying the characters’ connection with remarkable intuition.

The page content is blocked, so the critic’s verdict cannot be determined. No specific praise or complaint is available from the accessible text.