In a forest near the motorway, Valérie finds herself in the same situation as forty years ago, when she ran away from her parents’ council flat. In the winter of 2024, at her daughter’s request, Valérie puts on a performance as her icon, Romy Schneider.

For the last 6 years, I have been making films that examine the family unit by having the members of my family play themselves. In ROMY quatre jours, I zoom in on one of the members of the family world: my mother, Valérie Jouvin.

The child as spectacle and spectator is a dominant figure in my work. The camera, like a memory box, is on the shoulder as long as Valérie is alone. It is put on its support when I enter the scene. The film ends as it began, with the difference that Jade is watching Valérie do her thing.