In the first part of this blog post, I looked at how Petite Maman evokes the fantastic in its movement between what Tzvetan Todorov calls the uncanny and the marvellous, through the tale of a young girl (Nelly) meeting her own mother (Marion) at the same age. In this second part, I will look in further detail at the magical uncertainty, ambiguity and a wavering between different cinematic modes that Sciamma’s film presents.
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