4-year-old Nana (Kelyna Lecomte) grows up with her mother (Marie Delmas) in a very remote plot of land, not far from her grandfather’s (Alain Sabras) farm. But one day when she comes home, the house is strangely empty. And so Nana starts to explore on her own.
Nana is an enchanting little film that I wanted to see again as soon as it was finished, especially since I felt that I missed a whole lot the first time round.
Valérie Massadian really had her work cut out for her: making a film that rests basically entirely on the shoulders of a four-year old and that has a pretty heavy (if not difficult) plot is not the easiest thing you can do for your first film. But she seems to have had an excellent (working) relationship with Kelyna Lecomte, and Kelyna is generally a cute, great child. Without her, the film wouldn’t have worked at all. But somehow despite the slight artificiality of the plot, the both of them manage to give them film a very realistic feel.
I have to admit that I was really focused on her the entire time. So much so that I missed a lot of what was going on, which just makes me want to see the film again. And then probably again.
But even if I had got it all during the first watch, I think it’s a movie that I would like to revisit. It’s just beautifully made and flows along with such calm ease that it makes for a nice watch. In fact, the more I think about it, the more I like it.
It is rather short – only about 70 minutes – but it also wouldn’t have been necessary to drag it out any more. You gotta compliment a film maker who knows when to stop her film, even when it’s shorter than convention dictates.
Summarising: I hope I get the chance to see it again and I can only recommend that you do, too.