The text is focused on Mia Hansen-Løve’s films. In the first part, it explores the general characteristics of her films and attempts to show the ways in which Hansen-Løve achieves the so-called “patient narrative”. The second part focuses on the fist sequence of her One Fine Morning (Un beau matin, 2022). After describing it in detail, it attempts to explain its characteristics and then compares the sequence with other similar sequences in the film. The detailed analysis attempts to show how Hansen-Løve creates meaning in an almost unnoticeable manner.

The integral version of this article can be found in the printed KINO!