Marcello Mio, by Christophe Honoré

a la une, Arts

We live in a world where “Big Brother” has transformed the face of media, turning viewers into a voyeuristic cluster. Families like the Osbournes, the Duggars, the Kardashians, Snoop Dogg, the Gosselins, and the Wahlburgers dominate the screen, some controversial and some lacking talent beyond overexposure. Given this context of mediocrity and vulgarity reaching more audiences than films or scientific achievements, and with TikTok being the place to be, it’s puzzling that some of the “Croisette intelligentsia” could dismiss “Marcello Mio” as a movie made solely for themselves.

What we experience here is a different kind of clan than the futile scandals on TV screens. It is a family affair indeed, where the goal is to become oneself amidst big successful artists.

When did we last see such a level of talent expressing a deeply personal emotion on screen? Christophe Honoré’s work is a psychologically tender exercise, an introspective journey that opens with a dream and a book on immortality. Punctuated by songs and reminiscent sounds, we witness a mother-daughter equation dealing with a cinematographic monument, Chiara Mastroianni’s quest for identity. She takes a personal risk in this extravagant introspection, accompanied by a tender and thoughtful Catherine Deneuve and the genial Fabrice Luchini, unveiling her most intimate feelings and her ongoing struggle with her father’s image and presence.

Marcello Mio” is not a biopic with the inherent dangers of indiscretion or obscenity. Honoré reconstructs this family story from a romantic perspective, blending fiction and reality.

Chiara Mastroianni as Marcello and Catherine Deneuve, Marcello Mio scene , Catherine is wearing Chanel

How does one develop individually when both parents are European art monuments? What does it mean to be Marcello’s daughter, with a feminine but strong resemblance to him? Honoré uses rich symbolism to express Chiara’s anguish over becoming her father’s ghost. One question lingers: Are you afraid to be unmasked or afraid not to be unmasked?

Michel Bouquet once said, “In cinema, we work on the secrets of a role and the secret of our own nature.”

Chiara Mastroianni on the  poster of Marcello Mio , the movie

Fabrice Luchini is the perfect companion for this personal inner journey. He echoes Chiara‘s defined personality, acting as the friend and support she needs to traverse the river between her world and Marcello’s. All the protagonists, except Luchini, have had a Marcello experience. The possible lover, representing an innocent future unaware of her struggles, counterbalances Luchini, highlighting the slippery slope Chiara has navigated since birth. The Italian television fiasco is glorious. Her endurance in taking on her father’s legacy is a testament to honesty and deliverance.

The beauty of the film is epitomized when Chiara dresses up like Marcello. Naturally associated with him, she looks more delicate and more Chiara than ever, in this disguise. The movie resonates with all daughters and sons, not just those of famous parents, but anyone with a too-present or too-absent parental figure that shapes a developing soul.

As the director reminds us through Nietzsche’s words, all that is good in life is inherited.

by Alexandra I.Mas

Chanel proudly supporting cinema and the stories that move us.

Catherine Deneuve and Christophe Honoré on the Making of “Marcello Mio”

Christophe Honoré: I hope audiences see the universality in Chiara’s story—the struggle to define oneself, the weight of parental legacies, and the courage to embrace one’s true identity. It’s a film about love, loss, and self-discovery, themes that are relatable to everyone. And, of course, I hope they appreciate the artistry and emotion that everyone, from the cast to the crew, poured into this project.

Catherine Deneuve: It truly is a beautiful film, Christophe. Working with you and seeing Chiara shine was a joy. “Marcello Mio” is a testament to the power of personal storytelling and the enduring legacy of cinema.