6.2/10
1,448
12 user 26 critic

Little Lili (2003)

La petite Lili (original title)
A group of cinematic spend a holiday in the French countryside. The film provides insight in their relationships, including that between a young man and a local girl, Lili. She uses the ... See full summary »

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Cast

Cast overview, first billed only:
...
Mado Marceaux
Bernard Giraudeau ...
Brice
...
Simon Marceaux
...
Emilier Novacki, dite Lili
Robinson Stévenin ...
Julien Marceaux
...
Jeanne-Marie
...
Serge
Anne Le Ny ...
Léone
Marc Betton ...
Guy
...
L'acteur qui joue Simon
Maylie Del Piero
Mathieu Grondin ...
Julien-Acteur
Louise Boisvert ...
L'actrice qui joue Léone
Mustapha Chadli
Fani Kolarova
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Storyline

A group of cinematic spend a holiday in the French countryside. The film provides insight in their relationships, including that between a young man and a local girl, Lili. She uses the opportunity to work her way into the cinematic world, and for which she swaps her young friend for his mother's lover. This settled filmmaker takes Lili on a trip to Paris. A few years later the young man has become a filmmaker himself. His first film is inspired by the mentioned holiday. Lili, by now an actress, learns about it and works herself in a refined way into its cast. Ending up as the star of this production. No more than that, for the young filmmaker remains faithful to his wife and young daughter. Written by Farhan

Plot Summary | Add Synopsis

Genres:

Drama | Romance

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Details

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Release Date:

27 August 2003 (France)  »

Also Known As:

La pequeña Lili  »

Box Office

Opening Weekend:

$1,017,826 (France) (29 August 2003)

Gross:

$34,398 (USA) (24 June 2005)
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Company Credits

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Technical Specs

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Connections

Featured in Les dessous de Lili (2003) See more »

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User Reviews

A Sensual Re-Interpretation of "The Seagull"
22 November 2004 | by (Queens, NY) – See all my reviews

"La Petite Lili" is a delightful, visually enticing reinterpretation of Chekhov's "The Seagull" through a very Gallic sensibility, similar to how "Clueless" updated and Americanized Austen's "Emma."

While retaining most of the original dialogue and plot as a droll commentary on the more things change the more they stay the same, co-writer/director Claude Miller cleverly updates the artistic medium of debate from literature to film and uses his visual powers to very sensually illustrate the sub-text that in most productions is stifled under 19th century Russian costumes.

Because for all the high falultin' talk of aesthetics and generational conflict, and intellectual art vs. commercial pandering, lust is the primary motivator. Essentially, all the men are led around by their genitals and the women are empowered by controlling them (and it was suspenseful as to which of the competing women would succeed at it for the long run as to whether any of the men could remain faithful to them). For all their intellectual pretensions, all the characters are ruled by their emotions.

Miller wonderfully sets us up for the hot indolence of a country home weekend with a nude nubile Ludivine Sagnier, triggering a much more more effective mise en scene than Bernardo Bertolucci did in "Stealing Beauty." The effect Sagnier has on all the gathered extended family members is palpable and her brazen manipulations are consistent through to the ironic conclusion.

I thought through most of the movie that the director was possibly unaware of just how equally visually mesmerizing her counterpart Robinson Stévenin is on screen, as only one character responds to him, until I saw that James Dean is thanked in the acknowledgments and realized that Miller was using this brooding hunk as an archetype as well (his one final smile is almost a shock).

The last act is a culminating commentary on Chekhov's jarring denouement, claiming that "this is how it should have turned out." Miller softens some of the punishing sexism of the original while putting together a film-within-a-film like Hamlet's play-within-a-play that revenges on the ex-girlfriend, the mother, the mother's lover, etc. full of both comedy and tension.

The sub-titles are many times white on white for difficult reading.


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