Delphine meets Manuel. Fragile and elusive, the young man stays out of reach. Manuel leaves town, fleeing his disease, cancer. Delphine pursues him and plunges into a world of dark encounters. She finds Manuel again. He rejects her. She's unaware of his disease, desires him, without pity or compassion. Delphine creates small miracles and Manuel's cancer goes into remission. They stop in a small village, Mamirolle, in the Haut Doubs, feeling like they've made it home. After happiness, the joy of being together, catastrophe occurs. The last verse in their love poem.
“Mamirolle” was an adventure. I directed it in the same spirit and with the same zest as the short films I’d made before. A tight budget has the effect of stylizing ideas and creating a close-knit web of sharing between the whole cast and crew. It’s all about communicating the desire to create and invent. The actors enthralled me so much that I ended up directing the cinematographer (Antoine Héberlé) and composer (Nicolas Baby) as if they were actors, too, in symbiosis with the mood and emotion of the character played by Lou Doillon. “Mamirolle” is a film to be taken at face value, not with detachment. It’s steeped in its subject, that of adolescence, its rebellion against established order and the discovery of love. The only constant feature of being in love is the never-ending change, the perpetual mental turmoil that goes with it. “Mamirolle” is a film about remembrance, a story that is told almost every night: one light goes out and another one comes to life.
Brigitte Coscas, Director