In Gilles de Maistre’s latest cinematic marvel, a lost boy and an orphaned panda reveal the power of resilience and wonder in a world of fragile beauty.

Gilles de Maistre has long been a filmmaker drawn to the untamed. His lens captures not only the natural world but the intricate relationships between humans and animals, framed within stories of personal transformation. His 2024 movie Le Dernier Jaguar drew over one million spectators. Premiering in French cinemas on April 9, his latest family-friendly cinematic venture, Moon le Panda, follows in the footsteps of Mia et le lion blanc and Le Loup et le Lion, yet ventures into new terrain, both narratively and geographically. Set against the mist-shrouded mountains of Sichuan, China, it tells the story of Tian, a boy exiled to his grandmother’s home after struggling in school, who discovers an orphaned panda cub and, through their clandestine friendship, finds his own sense of purpose.

A Story Rooted in the Realities of Modern China

Unlike de Maistre’s previous films, which unfolded in the vast African savannah or the Canadian wilderness, Moon le Panda immerses itself in the unique social and ecological fabric of China. Beyond its visual splendour, the film engages with pressing themes: the relentless academic pressure on children, the disconnection between urban lives and the natural world, and the increasing rarity of truly wild spaces. Tian’s father embodies the ethos of a rapidly modernising society – his love measured by expectations, his fears disguised as discipline – while his grandmother, with her deep affinity for nature, represents an older wisdom, one that does not rush childhood but allows it to unfold.

The film does not shy away from the complex relationship between humans and pandas. These animals are adored worldwide yet exist in a paradox: symbols of conservation, yet entirely reliant on human intervention. In China, pandas are national treasures, meticulously protected yet no longer truly wild like lions or wolves. De Maistre approaches this reality with nuance, neither romanticising nor vilifying the human role in their fate.

The Power of Small Acts

If there is a moral to Moon le Panda, it is one that recurs throughout de Maistre’s work: small acts of care can ripple outward, transforming not only those who receive them but those who give them. The film subtly invokes the ‘hummingbird effect’ – the idea that even the smallest contribution to a cause can create lasting change. Tian does not set out to save pandas; he merely follows his instincts, and in doing so, finds a sense of self-worth that had previously eluded him.

The film’s screenplay, written by Gilles’ wife Prune de Maistre, reflects this delicate balance between personal growth and larger environmental themes. Her meticulously researched scripts, shaped by the couple’s shared storytelling vision, emerge from an intimate process: Prune reads sections aloud to their six children, gauging their reactions and refining the narrative accordingly. This ensures that the story remains genuinely attuned to a child’s perspective, rather than imposing an adult’s moralistic framework onto it.

Filming in the Heart of Sichuan

To capture the authenticity of the panda’s habitat, filming took place in Sichuan province, home to China’s largest panda reserves. The location was not merely a backdrop but a character in itself – steeped in mist, dense with bamboo forests, and filled with an air of mystery. The grandmother’s house, perched on stilts and repurposed from an actual tea house, evokes a sense of timelessness, reinforcing the film’s timeless, storybook atmosphere.

The challenges of shooting in this environment were significant. Wildlife laws in China are strict, particularly concerning pandas, which are considered national treasures. Every interaction between the actors and the pandas had to be carefully managed, requiring extensive negotiations with conservation authorities. Yet, the authenticity of the location was essential to de Maistre’s vision.

The production also benefited from an unprecedented cultural moment: the 60th anniversary of diplomatic relations between France and China. This allowed for greater collaboration between the two nations, smoothing logistical hurdles that might otherwise have made filming impossible. The film’s lead actor, Noé Liu Martane, himself of Franco-Chinese descent, further bridges these cultural worlds, embodying the dual identity at the heart of the story.

A Rare Feat of Cinematic Authenticity

In an era where digital effects often stand in for reality, Moon le Panda distinguishes itself as the first film in over two decades to feature real pandas on screen, without a single CGI effect.

This choice was not a mere aesthetic preference but a deliberate artistic and ethical stance. De Maistre, whose documentary background shapes all his fiction, sought to preserve the animals’ natural behaviour, allowing their presence to dictate the film’s rhythms. The result is a deeply organic, tactile experience that could never be replicated through digital wizardry. “When the Americans saw the film, they kept telling us the CGI was spectacular,” Gilles recalled with amusement. “There is no CGI.”

Filming with real pandas posed formidable challenges. Unlike trained domestic animals, pandas cannot be directed. Every scene required patience, improvisation, and a profound respect. The production, conducted in collaboration with Chinese wildlife authorities, took place in the very landscapes where pandas roam – verdant, towering bamboo forests that envelop both the human characters and the audience in a world far removed from modern urbanity. The film’s cinematographer, Marie Spencer, captures this world with a painterly sensibility, ensuring that each frame conveys both the majesty of nature and the intimacy of the story.

The Cast: A Blend of New and Established Talent

Central to the film’s success is the strength of its cast. Noé Liu Martane, who plays 12-year-old Tian, anchors the story with a quiet, naturalistic performance. His ability to convey vulnerability and wonder without excessive sentimentality lends authenticity to the character’s journey. His real-life sister, Nina Liu Martane, plays Liya, the academically driven yet emotionally repressed sibling. Their real-life dynamic infuses their on-screen relationship with genuine chemistry, heightening the emotional stakes of the narrative.

Veteran Chinese actors Sylvia Chang as the children’s wise and benevolent grandmother and Liu Ye as their strict and demanding father bring gravitas to their respective roles. Chang, a legendary figure in Chinese cinema, embodies a warmth and wisdom that serve as the emotional anchor of the story, while Liu Ye’s restrained performance underscores the generational divide between parent and child.

Bringing a European presence to the cast, Alexandra Lamy is one of France’s most recognisable actresses, known for her versatility across comedy and drama. In Moon le Panda, she plays Emma Zhao, Tian’s mother, who finds herself caught between the pressures of her husband’s expectations and her children’s emotional needs. Lamy’s inclusion not only broadens the film’s international appeal but also reinforces the cross-cultural themes at its heart.

A Journey Both Intimate and Epic

Moon le Panda is, in the end, both intimate and sweeping. It is a boy’s coming-of-age story, a family drama, and an ecological reflection wrapped into one. Through its lush cinematography, understated performances, and meticulous attention to emotional truth, it invites audiences to see the world – human and animal alike – with fresh eyes.

With this film, Gilles de Maistre reaffirms his place as a filmmaker who does not simply tell stories about nature, but who allows nature to tell stories through him. Moon le Panda is more than just a film about a panda – it is a film about rediscovering what it means to be human.

“The world is what it is, but life is beautiful, and we can find meaning in it. Through the relationship between Tian and Moon, we wanted to show that even the smallest connection can change how we see the world.” — Gilles de Maistre

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