“Behind the image of the nondescript young mother, I can’t help but remember a woman secretly tormented by the need to write,” Nobel Laureate Annie Ernaux reflects in “The Super 8 Years” (“Les années Super-8”). How much viewers know about what’s behind an image is decided by the person holding the camera – in the case of “The Super 8 Years” that cameraperson was often Ernaux’s ex-husband, Philippe Ernaux. An image can withhold more than it reveals, wordlessly triggering the curiosity and even bewilderment of its viewer, and we see Ernaux playing with this narrative control in her autobiographical film, weaving a personal and family retrospective that is made
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