Récréations purposefully denies the viewer any safety net, diving into the pure pandemonium of child’s play. Simon’s Mimi, released in 2003, imbues itself to a more lyrical framework, but is no less experimental... Mimi is quite the euphoric trip down memory lane, and of all of Claire Simon’s films at True/False it proves that a life fully lived is an exceptional life, and not the other way around.
Simon lets Mimi move and speak leisurely in front of the camera. The two retrace Mimi’s family history while perambulating around Nice and the village of Saorge in soft, Mediterranean light. However, the tension between present and past remains palpable throughout Simon’s film. The sea’s glimmering water, the beauty of lush, green hills, and Mimi’s steady storytelling — her calm, reassuring presence — clash with the anguish of her childhood stories, suggesting psychological alienation.