Amandine is a small very smooth girl, to the mischievous look. She lives, with her parents Peter and Mary, her brother Tom and her dog, in a beautiful house of three floors. Her life is rhythmized by her enthusiasm, her dreams of child and her preoccupations.
Enduring absences repeated of her parents, Amandine plays a lot with her Swedish baby-sitter Ingrid, or with her friends Max and Sophie, recreating odd universes. Often opposite to her brother Tom, of two years her eldest, she tempts to affirm her character and her autonomy.
Shared between her fertile childish imagination and her sense of the realities precocious, she lives to hundred on time in this place that counts a lot for her: her house.
But why the characters are they as smooth? Why do they change so of accent or behaviour? From where do come them this strange vocabulary and these attitudes of stooges? From where does this recurrent carillon noise come?
Because, it is incontestable, all indicates it to us - the attitudes, the language, the economic, social, political or cultural events - Amandine grows very quickly and nearly all evolves with her: her family, her dreams, her illusions, her mastery of the languages, her obsessions and her frights. A flat however: the faces of the characters are unchangeable in spite of the evidence of the time that passes.
Does Amandine drag us here in one journey who leads it of the childhood to adolescence, of which the only witness is her house, and who becomes by turns confidante, défouloir, expiatory place for all people who enliven it. And if this house had become the place where one says all high what everybody thinks all low?
Enduring absences repeated of her parents, Amandine plays a lot with her Swedish baby-sitter Ingrid, or with her friends Max and Sophie, recreating odd universes. Often opposite to her brother Tom, of two years her eldest, she tempts to affirm her character and her autonomy.
Shared between her fertile childish imagination and her sense of the realities precocious, she lives to hundred on time in this place that counts a lot for her: her house.
But why the characters are they as smooth? Why do they change so of accent or behaviour? From where do come them this strange vocabulary and these attitudes of stooges? From where does this recurrent carillon noise come?
Because, it is incontestable, all indicates it to us - the attitudes, the language, the economic, social, political or cultural events - Amandine grows very quickly and nearly all evolves with her: her family, her dreams, her illusions, her mastery of the languages, her obsessions and her frights. A flat however: the faces of the characters are unchangeable in spite of the evidence of the time that passes.
Does Amandine drag us here in one journey who leads it of the childhood to adolescence, of which the only witness is her house, and who becomes by turns confidante, défouloir, expiatory place for all people who enliven it. And if this house had become the place where one says all high what everybody thinks all low?
