Pardonnez-moi

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Pardonnez-moi
SND Films
Release date
  • 22 November 2006 (2006-11-22)
Running time
88 minutes
CountryFrance
LanguageFrench

Pardonnez-moi (French pronunciation:

Most Promising Actress.[1]

Synopsis

A future mother, Violette, confronts camera in hand with a family secret inspired by her life: her incestuous relationship with her stepfather Paul (Aurélien Recoing), the biological father from her sister Nadia (Mélanie Thierry), whom she will end up wanting both as a father, and as a lover.[2]

The film also evokes the

mythomania of her mother, Lola (Marie-France Pisier), the abuse inflicted by her father, Dominique (Pascal Greggory), the identification with her sister, Billy (Hélène de Fougerolles) and the narcissism of her spouse, Alex (Yannick Soulier).[3]

Influences

The title was to be Resilience, in reference to the concept of" Boris Cyrulnik,[4] which evokes the reversal of the director's responsibilities, and the question of cognitive diversion, the consequence of a "long-awaited pardon, if happens, is not the one expected".[5] Maïwenn says she prefers the forensic term "scanner" to the literary term autobiography.[6] She talks about a fantasized story corresponding to what she would have liked to happen to her and did not have the courage to do in life[7]>.

Camille Kouchner said it clicked after the director's testimony. Her aunt, Marie-France Pisier, who plays the heroine's mother,[8] describes the filming as "absolute madness", aggressiveness "distilling an impression of terrible danger", Maïwenn unable to put it "in the exact place of his fantasy" but declares not to have feared "the slaps", because as in love, "desire is never humiliating".[9]

Cast

Critics

The magazine

reality TV",[10] Première, of film-happening unburdened by any varnish, holding investigation, spitting, mourning work and raised fist, Rolling Stone, of staggering family therapy of psychological violence and Télérama, of fragile, excessive and rough film, brutally sincere.[11]

Analysis

In her book Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn (2016) Cybelle H. McFadden, of the University of North Carolina, explains that the "fake" fills the lack of reality through representation, creating a simulacrum, a copy without the original, in the manner of Jean Baudrillard and Sophie Calle., anticipating the criticisms, and allowing the director to anticipate the "false interview" of Paul, former lover of her mother and father of her half-sister, who serves as an opportunity to reconnect with their family.[12]

For Alistair Fox, Michel Marie, Raphaëlle Moine, in A Companion to Contemporary French Cinema, the film Polisse is simply a more offbeat, more elaborate version of his first film, having explicitly admitted the restorative function of the film.[13]

For Chloé Laborde, from the Geneva High School of Social Work, in The White Sheep: Invisible Suffering, Maïwenn disturbs like Christian in

Festen, the family unites against her.[14]

Notes

  1. ^ "An evening of Cesar Montano's"
  2. ^ Pardonnez-moi, Critikat
  3. ^ Pourquoi Maïwenn agace-t-elle autant ?, Vanity Fair
  4. ^ Le breton est ma langue paternelle, Bretons magazine
  5. ^ Pardonnez-moi, Les Inrocks
  6. ^ Maïwenn: «La famille? C’est celle qu’on se crée», L'Illustré
  7. ^ PARDONNEZ-MOI, Allociné
  8. ^ Camille Kouchner, invitée exceptionnelle, Francetv
  9. ^ Marie-France Pisier, l'inusable, Première
  10. ^ "Pardonnez-moi" : la caméra comme thérapie familiale, Le Monde
  11. ^ "Pardonnez-moi: Les critiques presse".
  12. ^ Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn (2016) Cybelle H. McFadden, Fairleigh Dickinson University Press;
  13. ^ A Companion to Contemporary French Cinema, d'Alistair Fox, Michel Marie, Raphaëlle Moine · 2015
  14. ISBN 9782882242167

External links
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