Sandra, a young mother who raises her daughter alone, pays regular visits to her sick father. While she and her family fight tooth and nail to get him the care he requires, Sandra reconnects with Clément, a friend she hasn’t seen in a while. Although he is in a relationship, the two begin a passionate affair.

After BERGMAN ISLAND, the story of ONE FINE MORNING just came to me. During the winter of 2019-2020, I wrote this script, partly inspired by my father's illness while he was still alive. I was trying to make sense of what I was going through. And I wanted to explore how two opposing feelings, a sense of grief and rebirth, can dialogue, experiencing them simultaneously. Even if it’s unstable, what Sandra and Clément have together is above all a joy. With her father, it’s only suffering. The two stories coexist. I was interested in finding a cinematographic form to show this coexistence. I am trying to tell the story of what it’s like being in mourning for someone who’s still alive. Georg is no longer the father Sandra knew, but he is still present. Even if his mind goes, a part of him - his sensibility, his being - remains. I wanted to make people feel this disappearance and this subsistence at the same time, this apparently contradictory movement is a source of great emotion for me. I wanted to show the visceral link that goes beyond illness, to tell the story of this strange mourning in order to better understand it, and to overcome the suffering that clouds everything for a long time. In the end, Sandra must free herself from her father to return to life, there is something selfish yet necessary in this. She embraces the happiness that is offered to her, but it is through a form of abandonment. This produces guilt. I wanted to talk about that too. In the script, the film ended with Clément asking, "And your house, where is it?” But Melvil's improvised answer during the shooting made sense. The arc of the film is there, from Georg’s closed door to a horizon that opens up at the end for Sandra. I don't think I could make a film with only a tragic outcome. Clearly, with the father, there can be no happy ending. He can't get better, his illness can only get worse. But I couldn't have made the film to tell only that. My films always move towards the light, it’s an indispensable driving force for me.

Mia Hansen-Løve (born 5 February 1981) is a French film director, screenwriter, and former actress. She has won several accolades for her work. Her first feature film, ALL IS FORGIVEN, won the Louis Delluc Prize for Best First Film in 2007. Hansen-Løve's film FATHER OF MY CHILDREN won the Special Jury Prize in the Un Certain Regard section at the 2009 Cannes Film Festival. In 2014, Hansen-Løve was awarded the status of Chevalier in the Ordre des Arts et des Lettres. In 2016, she won the Silver Bear for Best Director for her film THINGS TO COME at the 66th Berlin International Film Festival. In 2021, she directed her first English-speaking film, BERGMAN ISLAND, which was selected in Official Competition in Cannes. In 2022, she returned to Cannes, this time at Directors' Fortnight with her film ONE FINE MORNING, which was acclaimed by the international press and won the Europa Cinemas Label.

FILMOGRAPHY:
2022 - ONE FINE MORNING, Feature
2020 - BERGMAN ISLAND, Feature
2018 - MAYA, Feature
2016 - THINGS TO COME, Feature
2014 - EDEN, Feature
2011 - GOODBYE FIRST LOVE, Feature
2009 - FATHER OF MY CHILDREN, Feature
2007 - ALL IS FORGIVEN, Feature