ONE FINE MORNING – Review by Nadine Whitney

Scripted and directed by Mia Hansen-Løve, One Fine Morning could be considered a minor work in her catalog of films, but it is far from being small. Although the tale is intimate, it is a mirror to the experiences of many. Not all of us have to deal with a new and fraught romance, caring for a child, caring for a parent, keeping a job and re-defining ourselves all at once, but there are enough of those common happenings to make Hansen-Løve’s film one that will be deeply felt and true to life.

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ONE FINE MORNING – Review by T.J. Callahan

According to writer/director Mia Hansen-Løve, One Fine Morning is her Covid catharsis. It’s really her semi-autobiographical story of a daughter’s awareness of losing things that will never happen again. What we get is a simple, tender love story between a father and daughter as well as the emergence of a woman who has a lot of love to give. One Fine Morning is Hansen-Løve’s and Sandra’s growth and rebirth.

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ONE FINE MORNING – Review by Diane Carson

Thanks to Mia Hansen-Løve’s honest, sensitive writing, this female-driven film brilliantly avoids stereotypical pitfalls that feel manufactured and predictable. Through a myriad of events delivered with meticulous observation, Sandra shows the stresses struggling to be a good mom, locating a care facility for her father who has a neurodegenerative disease, and embracing the passion she feels for a married friend who responds in kind. Meantime, Sandra’s holding down a good job, offering her philosophy professor father’s books to deserving students, and somehow accommodating the joy and sorrow, grief and guilt that goes with all this.

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MOVIE OF THE WEEK January 27, 2023: ONE FINE MORNING

A Parisian woman juggles the demands of motherhood and daughterhood while trying to claim a chance at love in writer-director Mia Hansen-Løve’s intimate drama One Fine Morning. Anchored by star Léa Seydoux’s authentic, naturalistic performance as single mom Sandra, the film is a quietly moving meditation on what it means to be a caregiver to others when what you may need more than anything is to be cared for yourself.

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ONE FINE MORNING – Review by Loren King

Mia Hansen-Løve is one of the best directors working today for a body of films that reveal the small truths of ordinary lives. She’s not afraid to trust her story or allow her actors to be understated in exploring what it means to be a mother, a daughter, or lover. Like her recent, extraordinary films Things to Come and Bergman Island,”her latest One Fine Day is another semi-autobiographical journey that unfolds in a natural, deceptively simple way as Hansen-Løve tackles themes of loss and rebirth.

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Telluride Film Fest 2022: A Woman’s Wrap – Diane Carson reports

Over Labor Day weekend, the 49th Telluride Film Festival presented thought-provoking films to its full complement of attendees, a nice rebound from the all-mask 2021 event. As always, no one could come close to seeing all the enticing films on offer, so tough choices and constant second guessing rules. This year women directed and dominated exceptionally strong selections that tell stories of quite different time periods and subjects. Intelligently and insightfully observing internal and external struggles, revealing the specificity of contemporary and historical pressures (so remarkably relevant today), the fest’s films reached out and inspired as they informed. We are, indeed, a global community.

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NY Film Fest 2022: 37.5% of Main Slate Films are Femme-Helmed – Jennifer Merin reports

The 32 films that comprise the Main Slate of the 60th New York Film Festival (NYFF), taking place September 30–October 16, 2022, at Lincoln Center and in venues across the city include 11 films directed by women and one that was co-directed by a woman — equaling 37.5 percent. In comparison, New York Film Festival’s 2021 Main Slate roster of 32 titles included eight films directed by women, two films co-directed by women — or 31.25 percent. This year’s femme helmed films represent a diverse selection of styles, genres and themes directed by filmmakers who are returning to NYFF and those whose work is being shown at NYFF for the first time.

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BERGMAN ISLAND – Review by Diane Carson

Invoking multiple references to iconic Swedish director Ingmar Bergman sets writer/director Mia Hansen-Løve’s film Bergman Island up for an inevitable comparison with that revered legend’s work. In fact, as Hansen- Løve says in a press interview, her interpersonal drama, taking place entirely on Bergman’s beloved Fårö Island, is “haunted by his work and his presence,” as reflected throughout her film.

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MOVIE OF THE WEEK October 15, 2021: BERGMAN ISLAND

Art imitates life and life imitates art in Mia Hansen-Løve’s leisurely, introspective drama Bergman Island. The film follows partners/fellow screenwriters Chris (Vicky Krieps) and Tony (Tim Roth) as they retreat to Fårö, the remote island that celebrated Swedish filmmaker Ingmar Bergman called home. Eager for both inspiration and connection, the pair — especially Chris — instead find themselves restless and sometimes at odds. As their story unspools, so does that of the screenplay for which Chris is determined to find an ending.

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BERGMAN ISLAND – Review by Susan Wloszczyna

The main focus of director-screenwriter Mia Hansen-Love’s meditative comedy-drama is Tony (Tim Roth) and Chris (Vicky Krieps), a couple who are both director-writers and parents of a young girl. Both are hoping find inspiration by soaking up the genius vibes of a master of cinema known for exploring the often dour circumstances of the human condition. They even rent the cottage and sleep in the double bed used for Ingmar Bergman’s 1973 divorce drama Scenes From a Marriage.

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