Whip pans, snap zooms, and point-of-view shots: Monia Chokri’s sense of humor is uncontainable, breaking out in playful camerawork across all of her three films to date. Sight gags press home the comic set pieces and witty dialogue that audiences have come to expect from the Québécois director. In her latest film, Chokri applies this comic-strip sensibility to subjects seldom framed for laughs: female infidelity and interclass romance. Letting her inner clown loose on 21st-century womanhood, Chokri has established herself as a major voice in contemporary comedy.
Hitting the ground running with her debut feature, Chokri flipped the script with an arrested-development comedy that centered on a single thirty-something. In A Brother’s Love (2019), an out-of-work academic comes face-to-face with her own shortcomings when her favorite person brings home the perfect girlfriend: well-adjusted, high-achieving, beautiful. Excitable cinematography plays rough with this brother-and-sister act, hassling the siblings up the steep incline to emotional maturity.
In Babysitter (2022), Chokri burlesques casual misogyny and call-out culture. An agent of cartoonish chaos, the camera, operated by Chokri’s two-time cinematographer Josée Deshaies, nudges the film’s protagonists into farcical scenarios of public misdemeanor and sexual exploration.
From ribald to racy: The Nature of Love (2023) teases serious chemistry from its leads, attractive strangers who straddle the class divide—and each other. Once more, Chokri’s lively camera entertains. Locked out of the love nest—a cabin in the woods—it moves over to the window and, with a purposely clunky crash zoom, finds an angle on the action through parted plaid curtains.
Catching up to compatriot Xavier Dolan as Canada’s hottest film export, Chokri’s bouncy, sexy cinema puts trampoline springs under feminist critique.

Whip pans, snap zooms, and point-of-view shots: Monia Chokri&#8217;s sense of humor is uncontainable, breaking out in playful camerawork across all of her three films to date. Sight gags press home the comic set pieces and witty dialogue that audiences have come to expect from the Québécois director. In her latest film, Chokri applies this comic-strip sensibility to subjects seldom framed for laughs: female infidelity and interclass romance. Letting her inner clown loose on 21st-century womanhood, Chokri has established herself as a major voice in contemporary comedy.
Hitting the ground running with her debut feature, Chokri flipped the script with an arrested-development comedy that centered on a single thirty-something. In A Brother’s Love (2019), an out-of-work academic comes face-to-face with her own shortcomings when her favorite person brings home the perfect girlfriend: well-adjusted, high-achieving, beautiful. Excitable cinematography plays rough with this brother-and-sister act, hassling the siblings up the steep incline to emotional maturity.
In Babysitter (2022), Chokri burlesques casual misogyny and call-out culture. An agent of cartoonish chaos, the camera, operated by Chokri&#8217;s two-time cinematographer Josée Deshaies, nudges the film&#8217;s protagonists into farcical scenarios of public misdemeanor and sexual exploration.
From ribald to racy: The Nature of Love (2023) teases serious chemistry from its leads, attractive strangers who straddle the class divide&#8212;and each other. Once more, Chokri&#8217;s lively camera entertains. Locked out of the love nest&#8212;a cabin in the woods&#8212;it moves over to the window and, with a purposely clunky crash zoom, finds an angle on the action through parted plaid curtains.
Catching up to compatriot Xavier Dolan as Canada&#8217;s hottest film export, Chokri&#8217;s bouncy, sexy cinema puts trampoline springs under feminist critique.

Flipping the Script:  The Films of Monia Chokri

FLIPPING THE SCRIPT:  THE FILMS OF MONIA CHOKRI

Playful camerawork is a constant of Monia Chokri’s ebullient comedies, which explore 21st-century womanhood and relationship politics with intelligence and irrepressible humor. Poking fun and stoking debate, the Canadian director’s buoyant cinema puts trampoline springs under feminist critique.

Playful camerawork is a constant of Monia Chokri&#8217;s ebullient comedies, which explore 21st-century womanhood and relationship politics with intelligence and irrepressible humor. Poking fun and stoking debate, the Canadian director&#8217;s buoyant cinema puts trampoline springs under feminist critique.

The Films of Monia Chokri

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THE FILMS OF MONIA CHOKRI

Flipping the Script: 

FLIPPING THE SCRIPT: 

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