"My son's so wonderful! What a fortunate marriage! He's been looking for such a long time. He's had lots of girlfriends, but there was always something wrong—too young, not sexy enough, too trendy, not enough class. But this time he's done it. She's got everything, that one! Pretty, intelligent, and a super-influential father ('cause that counts too—he may not look it, but he's ambitious, that son of mine). What's more, she's pregnant. This wedding day is a dream come true!" Thus spake Josette, the groom's mother, a few minutes before the ceremony began. But then Léa showed up.
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"Belle Maman," like 'Pédale douce,' deals with an unsettling borderline subject in a way that, I hope, means people won't automatically feel put off. I try to express things with whimsy, affection and irony, which offsets the heaviness you get when a social issue is handled seriously. I think there has to be a lot of whimsy in terms of the tale, structure, and screenplay, as well as a lot of discipline when it comes to feelings. The feelings you express have to be just right, very real and strong—just like a serious drama—whereas everything else should be a display of fireworks. 'Belle Maman' is both fun and funny, but it's mainly a terrific love story. 'Belle Maman' is a story about passion—there's all the violence, madness and pain of loving, in short all the torture you feel when you're madly in love with a woman you can't possibly have."
(Gabriel Aghion, excerpt from an interview published in "Unifrance Film Newsletter," No. 17)