Cette Chair est la mienne
2026 · 2m
Directed by Talia Gryson
Genres: coming-of-age, drama
Tones: contemplative, melancholic
Mallory, a model, is about to be photographed by Grace, a professional photographer, once makeup artist Shanna has finished preparing her. Mallory recalls a childhood memory in which outside gazes — above all that of Mme Princier, her school principal — weighed heavily on her.
Picked by Margot
The scouts
Two minutes of a model getting ready doesn't scream subversion until you realize the real subject is the archaeology of the gaze itself — but the film's too mannered, too aware of its own metaphor, to really disturb anything.
Gryson orchestrates a formal conversation between past and present, body and observation, that recalls the feminist cinema lineage of Akerman and Varda; the restraint of the mise-en-scène and the precision of the editing create a small, deliberate essay on objectification that argues through form.
The film hinges on a single structural choice — cutting between the mirror's reflection and direct address — that transforms a beauty routine into an act of reclamation, and that decision alone elevates what could've been surface-level into something genuinely unsettling.