![]() The critical response to the first three films of Mia Hansen-Løve resonates with and is enriched through comparison to those of Sofia Coppola. From the use of “Mademoiselle”, drawing attention to the gender and youth of the director, to the allusion to coming-of-age (both in terms of fictional character and personal career trajectory), and most significantly, the use of the term trilogy, Mandelbaum’s review offers a thumbnail sketch of some of the contours of contemporary art-house postfeminist authorship that I shall discuss in this article. In this sentence, Mandelbaum reaffirms the implicit framework that underpins critical reception of Hansen-Løve’s films and that suggests more broadly the complex network of possibility and constraint for female authorship in the contemporary cinematic field. ![]() Upon the release of Mia Hansen-Løve’s third film, Goodbye First Love ( Un amour de jeunesse, 2011), Jacques Mandelbaum wrote in Le Monde: “so with this film, Mademoiselle Hansen-Løve completes the third section of her cinematic training, a magnificent trilogy of youth that whispers to us that loss, however irremediable it might be, helps us to live” (my trans). Girlhood, Postfeminism and Contemporary Female Art-House Authorship: The “Nameless Trilogies” of Sofia Coppola and Mia Hansen-Løve Fiona Handyside ![]()
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