Marie-Hélène Dozo

Marie-Hélène Dozo’s editing touch? Oh, it’s everywhere if you know where to look. She’s the wizard behind the cuts in “Deux jours, une nuit” (2014), that gut-punch of a film starring Marion Cotillard. Seriously, if you’ve ever wondered how a movie could make you sweat over a woman begging her coworkers for a second chance at her job, thank Dozo. She’s got this way of letting scenes breathe, even when the tension’s so thick you could slice it. Then there’s “The Kid with a Bike” (2011). It’s a wild ride, honestly. You’ve got this kid, Cyril, bouncing between hope and heartbreak at lightning speed, and Dozo’s edits just keep you glued to the screen. No fancy tricks, just pure, raw emotion. The way she holds on a shot, or cuts at just the right moment—man, it’s like she’s in your head, knowing when you’ll need a second to process what’s happening. And don’t forget “The Diary of a Teenage Girl” (2015). That movie’s a whole different vibe, diving into the messy, awkward, sometimes hilarious world of a teenage girl discovering herself. The energy’s chaotic in the best way, bouncing between animation and live action, and somehow Dozo pulls it all together so it never feels jarring. She lets the story be as weird and honest as it wants, but never loses the thread. Bottom line? Dozo’s editing isn’t just technical skill—it’s heart, intuition, guts. You feel the difference, even if you can’t always put your finger on it.