THE STORY – When Fatima leaves her close-knit suburban family to study philosophy in Paris, she finds herself caught between her religious upbringing and the freedom of student life in the city.
THE CAST – Nadia Melliti, Park Ji-min, Amina Ben Mohamed, Rita Benmannana & Melissa Guers
THE TEAM – Hafsia Herzi (Director/Writer)
THE RUNNING TIME – 107 Minutes
LGBTQ+ stories have historically always been heavily featured and widely praised at the Cannes Film Festival. From Celine Sciamma’s “Portrait of a Lady on Fire“ to Todd Haynes’ “Carol,“ and Park Chan-wook’s “The Handmaiden“ – all of which became beloved fan and award favorites – these queer stories have cemented themselves as premiere triumphs. 2025’s Cannes has seen a plethora of queer cinema, such as Harry Lighton’s “Pillion“ and Oliver Hermanus’ “The History of Sound.” Still, there has been a cacophony of murmurs surrounding French director Hafsia Herzi’s third feature, “The Little Sister.“
Herzog’s film is a coming-out epic that follows Fatima (played by a phenomenal Nadia Melliti) – the youngest of three sisters in her French-Algerian family and a teenager in a period of transformation. Fatima wrestles with her attraction to women, but due to societal pressures and her relationship with both religion as well as her devout family, she greatly struggles to process her desires while still maintaining her previously held facade. When Fatima later enters a university in Paris to study philosophy and is more freely able to explore her newly recognized identity, she goes on dates with women. She starts to fall for a nurse, Ji-Na (played by Ji-min Park, of “Return to Seoul“). But the freer and more comfortable Fatima feels in her new shoes, the more fragile the balance between who she knows she is and who the rest of the world wants her to pretend to be.
This premise is as old as time, but Herzi makes sure that “The Little Sister” doesn’t fall into cliches or become a repetitive coming-out flick that’s been done to death. Instead, she molds it into something personal and honest, as this character study of a young woman finding herself is as messy as one might expect, yet heartbreaking in ways one might not have previously assumed. This is in no way a surface-level examination of a confused teenager but an intricate profile into the mindset, attitude, and day-to-day life of a young woman undergoing a substantial personal transformation and testing the new waters of a lifestyle and identity of which she’s never previously had the opportunity or courage to break the surface.
Perhaps a reason why “The Little Sister“ seems so personal and gritty is the fact the film is adapted from Fatima Daas’ semi-autobiographical novel “The Last One,“ which tells the true tale of a young gay Muslim woman’s exploration and eventual acceptance of her sexuality. Through centuries of oppression, societal standards, and expectations from culture, family, religion, and peers, the film’s protagonist bravely steps forth into herself throughout the 106-minute runtime, ending on a swell of power in the finale with a performance from the first-time actor that’s utterly groundbreaking.
Melliti plays the stoic Fatima with the expertise and precision of a seasoned actor well beyond her age and experience. Her performance is largely inward, with much of Fatima’s turmoil, conflicts, and transformation coming from within rather than a dramatic show of physical change or attitude. There may be an emotional detachment some viewers may feel toward Fatima as she struggles to communicate with those around her, but that’s largely overcome by Melliti’s work. Ji-min Park’s portrayal of the love interest is also a revelation, as she experiences her own profound arc alongside Fatima in a way that’s much different to witness on screen but just as deeply moving all the same. Fatima’s relationship with her family is more inferred than deeply explored, but the time Amina Ben Mohamed has on screen as a dedicated mother is memorable all the same.
Herzi’s direction highlights her phenomenal cast in a painstakingly delicate way, threading the tender line of the plot with ease, as well as with a visceral sense of purpose, place, and feel. Because of this, “The Little Sister“ is cohesive, well-paced, and nuanced, as it boasts a clear and direct vision that may stumble but never loses its way. Cinematographer Jérémie Attard has mastered the art of close-ups and uses them to the film’s advantage; he often pushes close to the talent’s face, capturing minute details and subtle changes in well-hidden expression that might otherwise be missed in a study of human emotion.
“The Little Sister“ is another version of a familiar tale but told with a solid handling of the material and character. It’s a carefully restrained yet honest character study with enough unique elements and impressive aspects to stand out and be remembered amongst a sea of other coming-out films. Perhaps down the road, this film will be hailed as the one where Nadia Melliti was discovered in her breakout role and when visionary director Hafsia Herzi was finally widely recognized for her focused and nuanced work. In telling a story that tackles topics including religion, culture, sexuality, societal norms, and others, Herzi creates conversation, sparks intrigue, and inspires viewers. In an effort to urge people to explore their newfound waters – whatever they may be – the film is a hopeful and beautiful form of encouragement bound to create more than just a ripple in its journey. It’s destined to assure those who may have been in Fatima’s shoes that they are indeed not even close to being alone in the world.
