Young Critics Lab

24 décembre 2024

REINE MÈRE - Review by Nicola Bardi

Manele Labidi’s second feature film wrapped up this year’s Les Arcs Film Festival while also being part of Le Sommet, an industry initiative that brought together over 300 professionals, including French distributors, exhibitors, and suppliers.

The closing ceremony of the 16th edition of the Les Arcs Film Festival took place on 20 December at the Centre Bernard Taillefer in Arc 1800. The evening saw Kneecap by English filmmaker Rich Peppiatt winning several awards, including the coveted Crystal Arrow, presented by the Feature Films Jury (Céline Sallette, Delphine le Vigan, Herdís Stefánsdóttir, Pio Marmaï, Sofiane Zermani and Peter Kerekes). To end the night in a light tone and bid farewell until next year, the quirky and bubbly comedy by Tunisian director Manele Labidi premiered at the festival, entertaining the audience with sharp humor and witty dialogue. Frederic Boyer, artistic director of Les Arcs Film Festival, introduced the movie and the two leading actors Sofiane Zermani and Camélia Jordana attended the screening and a Q&A session afterwards.

Set in 1990s France, Reine Mère (Queen Mother) focuses on a family that has emigrated and now struggles with in-between identities and the challenge of fitting in while contending with deeply rooted stereotypes. Manele Labidi avoids a heavy-handed dramatic approach, opting instead for a blend of humor and heartfelt moments, carried by the excellent chemistry and strong performances of her cast. 

Camélia Jordana shines as Amel, the strong, independent, and quick-witted titular queen mother. Sofiane Zermani, a French actor and rapper, convincingly portrays Amor, a cheerful husband trying to remain positive despite their hardships. Rim Monfort delivers a heartfelt performance as their eldest daughter, Mouna, balancing moments of warmth and emotional depth. Finally, Damien Bonnard charms as the comedic spirit of Charles Martel, a historical figure embodying Mouna’s fears and her struggle to embrace her identity amidst the judgments she faces at school due to her heritage. Charles Martel serves as both a comic sidekick and a catalyst for the film’s resolution.

At first glance, Reine Mère may seem like a light comedy that barely scratches the surface of its themes, but it reveals a complex and nuanced exploration of identity and belonging. Instead of portraying Charles Martel as a haunting or menacing figure, Labidi leans into his comedic and exaggerated characterization. This historically violent figure is envisioned as misunderstood and, over centuries, politicized by modern historiography to advance European anti-Muslim narratives. After her initial fear, Mouna and the spirit form an inseparable bond, becoming partners in crime -stealing cigarettes from her father, sharing snacks, shouting back at creepy old men-. 

Not only that, but Charles Martel acts as a protector and a surrogate father figure -Amor is absent due to work and Amel hints to him not remembering his children’s birthdays- that shields her away from harm or suggest to not act in anger against discrimination. Her being open about seeing this ghost, she breaks havoc in her family and with her professors at school, triggering a change and a more careful communication, as toning down certain historical discriminating narratives. This helps Mouna come to terms with her heritage and find the strength to stand her ground, learning to not be led by fear but being understanding -here in the form of a school research as well- towards her family and peers.

Beyond the prejudices Mouna faces at school in France, the film also portrays the strain of her family’s precarious circumstances. Frequent fights between Amel and Amor about their uncertain future -fuelled by the threat of eviction- add another layer of tension to Mouna’s world.

Mouna is not the only one struggling with a conflicting identity. Amel, too, feels stuck and unable to get back home with her family, torn between opposing feelings: a sense of pride in her family’s former status in Tunisia, which she no longer holds; the shame of doing a humble job, such as working as a cleaning lady, to make ends meet; love for the French language and European culture -like tap dancing- and the anger of realizing she will always face discrimination. This is so pervasive that even when searching for a new home, it’s easier to pretend to be Italian than to reveal her true nationality. 

Manele Labidi blends a variety of themes and elements into her story, packing a lot of moving parts into just an hour and a half. She entertains her audience with sharp humor but in the finale, she seems to shy away from tying up all the narrative threads, going for an ending that leaves viewers wondering about the fate of this endearing family, such as their research for a new home or the significance of Amelia being able to see the ghost. For all that, the open ending might symbolize the ongoing and never-ending nature of immigration, not knowing what life has in store for them, both the good and the bad.

Reine Mère was produced by Kazak Productions, in co-production with Frakas Productions. The film will premiere in French cinemas on 12 March 2025, distributed by Diaphana Distribution.

Nicola Bardi