TRIBUTES AND RETROSPECTIVES

Mia Hansen-Løve startrd her career as an actress at the age of 17 working with Olivier Assayas, before becoming a critic at the Cahiers du cinema. In 2007, at the age of 26, she made her first film, Tout est pardonné (All is Forgiven), the screenplay of which she read in Angers with François Cluzet. The film was selected in the Directors’ Fortnight in Cannes, where it was noted for its controlled sensitivity. This film opened the way for two other films exploring the figure of a young woman facing mourning or absence, Le Père de mes enfants (Father of my Children) in 2009 and Un amour de jeunesse (Goodbye First love) in 2011. Each story develops over a long time, through different periods which fill out the characters and give the films a Romanesque and melancholic aspect. Eden (2014), a musical on the emergence of the French Touch, and L’Avenir (Things to Come) (2016) with Isabelle Huppert, are portraits inspired respectively by her brother and mother. After Maya (2018), Bergman Island (2021) gave Mia Hansen-Løve her first competition entry in Cannes with an ambitious ghost story and an international cast including Tim Roth, Vicky Krieps, Mia Wasikowska and Anders Danielsen Lie. Un beau matin (One Fine Morning), released last October, gave Léa Seydoux one of her greatest roles as a woman suffering on account of her father’s illness, but nevertheless hoping for a renewal in her own life. In this film Mia Hansen-Løve returns to her sources with the deep feelings of her character, her hopes and her fears, and manages to connect to the universal. Once again, she doesn’t shy away from narrative gaps, as this is a source of interest to her – the very nature of time, time which heals the wounds that the characters thought were eternal, making us think about our own life experiences.

In collaboration with Les Films du Losange