Ponette

Ponette

Victoire Thivisol was four years old when she played Ponette, a girl struggling to understand her mother’s death in a car accident. The range and depth of emotion she displays makes me a little worried about what director Jacques Doillon did to coax the performance out of her. Thivisol became the youngest actress to win Best Actress at the Venice Film Festival, an honor for which Doillon gave her a puppy. 

At her mother’s funeral, Ponette’s young cousin Mathias tells her that her mother cannot come up from her grave because “they put a heavy cross on you to keep you in.” He adds, “Only zombies can come out.” As we watch Ponette try to adjust to her shattered world, it becomes clear that she has a heavy cross to bear herself.  

Intending to comfort her, Ponette’s aunt Claire tells her the story of Jesus’ burial and resurrection. What the girl hears, though, is that she needs to sit and wait and not play until her mother comes back to life. Later, a Jewish girl at Ponette’s school leads her through a series of trials, such as traversing the ground they are pretending is made of lava, so that she can become a “child of God” and persuade God to listen to her prayers.  

Doillon films many of Ponette’s scenes from a child’s eye perspective reminiscent of the “tatami level” point of view Yasujiro Ozu used in his films.  This camera placement, as well as the extraordinarily articulate performances of Thivisol and the other child actors in the film, gives their scenes a disconcertingly adult feel, an effect Doillon uses to emphasize the similarity between Ponette’s questions and those adults continue to grapple with their entire lives. 

—Tyler Perry (2011)

  1. Directed by: Jacques Doillon
  2. Produced by: Christine Gozlan Alain Sarde
  3. Written by: Jacques Doillon Brune Compagnon
  4. Music by: Philippe Sarde
  5. Cinematography by: Caroline Champetier
  6. Editing by: Jacqueline Fano
  7. Release Date: 1996
  8. Running Time: 97
  9. Language: French

Arts & Faith Lists:

2005 Top 100 — #38

2006 Top 100 — #54

2010 Top 100 — #56

2011 Top 100 — #49

2020 Top 100 — #74

Similar Posts

  • Wings of Desire

    We must decide to be human. In the People’s Square, before a great crowd of witnesses and in representing them, we must make the decision to be wholly human. Wim Wenders’ wonderful and dreamlike 1987 fantasy, Der Himmel über Berlin, portrays two angels observing the people of a divided Berlin.   As the camera floats freely…

  • Becket

    A film that has often invited comparisons to A Man for All Seasons (Top 100 #31), Becket is also the story of a high official in Britain who chooses God over king and is slain for his beliefs. Thomas Becket begins the movie as the king’s closest friend, and thus his transformation into God’s man and the king’s opponent…

  • The Burmese Harp

    Kon Ichikawa’s deeply humane, spiritually resonant masterpiece is routinely but reductionistically described as “pacifist” or “anti-war.” War, though, is the occasion for the central theme, not the theme itself, which is nothing less than the intractable mystery of suffering and evil, affirmation of spiritual values, and the challenge to live humanely in evil circumstances. Adapted…

  • Lourdes

    A Catholic pilgrimage underscored by a Lutheran chorale, a nun abandoning her duties to have an affair, a skeptic receiving a miraculous cure ahead of more devout pilgrims. A cliché I can’t stand says “God moves in mysterious ways,” and while it is possible to take that away from Jessica Hausner’s Lourdes, I think what’s more…

  • The Immigrant

    In a nod to the social realism of American cinema in the late silent era, The Immigrant is an operatic take on a city full of charlatans, pimps, and immigrants. Its citizens are larger than life and drawn as broadly as a sepia photograph in fading newsprint. But like Bruno and Ewa, they are carving out a…