Small movies can sometimes yield large pleasures, but to appreciate this modest, independently produced drama you'll have to first forgive a lot of its shortcomings. The film is more well-meant than well-made, following the battle of wills between a dictatorial grandmother and a benevolent French governess over the welfare of a precocious, orphaned poor-little-rich-girl. But it's an unfair competition from the start: Grandma Coco can only express her affection for young Phoebe through jealous tantrums and cruel discipline, while governess Zelly (short for Mademoiselle) is all compassion and tenderness (and very little else).
The film is a peculiar mixture of lukewarm nostalgia and cold, upper-crust alienation, showing more forbearance than might otherwise be expected from a story about child abuse. But the meager budget isn't enough to convincingly recreate the (somewhat arbitrary) 1958 setting, effectively isolating the action in a dramatic vacuum. A little more background detail might have made it more involving.
Look for cult director David Lynch in a small role, alongside his then girlfriend Isabella Rossellini.
The film is a peculiar mixture of lukewarm nostalgia and cold, upper-crust alienation, showing more forbearance than might otherwise be expected from a story about child abuse. But the meager budget isn't enough to convincingly recreate the (somewhat arbitrary) 1958 setting, effectively isolating the action in a dramatic vacuum. A little more background detail might have made it more involving.
Look for cult director David Lynch in a small role, alongside his then girlfriend Isabella Rossellini.