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‘The maternal’ to the Norman: we spoke with the director of ‘Pequeñas valientes (Petites)’

'The maternal' to the Norman: we spoke with the director of 'Pequeñas valientes (Petites)'

In the midst of a difficult situation, Julie Lerat-Gersant convey hope. With the landscapes, with the music of Superpoze and with the magnificent work of its protagonists: a Pili Groyne who has little to envy Carla Quilez and one victoire dubois up to our angela cervantes.

Just because, Little brave (Petites) focuses the plot on a pregnant teenager and her toxic mother as it already did Pilar Palomero with the maternal, a coincidence that the French director was not surprised to discover. We talked to her about the similarities and differences with the Spanish feature film, the influence of her Norman roots and the current situation in the reception centers.

You’ve seen the maternal?I have not seen her yet! Everyone talked to me about her when I was at the Gijón Festival.

What do you think this thematic coincidence is due to?I think it’s because women have freed themselves and can now talk about the issues that concern them. Before it was not interesting or it was directly taboo. Pregnant teens, like Pili Groyne’s character Camille, and the problematic mother-daughter transmission were not in the conversation.

In the maternalthe mother of the protagonist is also single and has unstable relationships with men, does not this new coincidence surprise you?The truth is that no, because I think that it is now when a break with the repetition of familiar schemes is taking place. There is a generation of “little” adolescents who are breaking the circle and want to do things differently. It is logical that new filmmakers want to explore this phenomenon.

Frame of ‘Little Brave (Petites)’

On style, Little brave (Petites) and the maternal they are very different. In your film you take great advantage of the landscape and the electronic soundtrack of Superpoze.Gabriel, aka Superpoze, is also a Norman, like myself and François Roy, my co-writer and art director. In Normandy, the weather rules, you see that in the film, and Superpoze has made Camille’s inner music, which goes through all her emotional states, and gets confused with the weather when she dances in the rain.

How long have these reception centers existed? Romane Bohringer’s character embodies a certain concern for its proper functioning. Are they that bad?I wrote the role for her, because we knew each other from having done theater together, and I wouldn’t know how to give her a date. I think these centers have existed since the 70s, before it was the nuns who were in charge of hiding the girls and giving the children up for adoption. In France we have a public system, which is better than in many countries, but there are a lot of resources missing, and we cannot remain stagnant, we must progress.

It is an issue that worries me, now I am making a documentary for France 3 about reception centers for children from six to 18 months, when the judge decrees that they cannot live with their problematic families. There is a team that takes turns, and is 24/7 for them. Is awesome.

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