For Karin Viard, “Magnificat” is a “militant film on the place of women in the Church”

Karin Viard is often identified with the “girl next door” in dramatic or romantic comedies, where she mixes her humor with flawless charm. We did not necessarily expect her in the role of a chancellor of a diocese in the film by Virginie Sauveur, Magnificat, which comes out Wednesday, June 21. Who knows this function in the clergy? Archivist of Catholic documents to the bishop (François Berléand), the chancellor is in a way the “keeper of the seals”.

Charlotte, whom she plays, conducts her own investigation after the discovery of the death of a priest who turns out to be a woman. Double surprise, therefore, both as a subject and as a role, on which we questioned her during an interview that Karin Viard granted us.

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Franceinfo.fr Culture: How did you accept this role of chancellor of a diocese?

What I liked was the subject. I had never thought of such a subject. It’s true that in this great women’s liberation movement, we want to get out of this patriarchy that women have suffered for centuries. Basically, the Church belongs more than anything to this patriarchy. The women in the Church are the servants of God, they are also the maids of the priests, they are the maids of everyone in fact. Suddenly, this film makes it possible to question the place of women in the Church. And I find that in the Church, in society, as everywhere, women have a real role to play. They can temper many things that belong to men but also belong to women. This relationship of equality in society, I find it important, and in the Church too.

The subject of gender is very present on the screen today, and “Magnificat” approaches it from the angle of the Catholic Church, while it is the only monotheistic religion to prohibit women from performing the Office. . Is the film going in a militant direction for more openness of the Church towards women?

It’s obvious, it’s even the central subject of the film. At the same time, it raises questions, launches avenues of reflection, without asserting truths, or inciting to think like this or like that. In this sense, we also have the point of view of Patrick Catalifo and François Berléand who are older and are the guardians of the temple, when they say to Charlotte, that I play: you are very nice Charlotte, but we cannot in one day modernize everything like that. So I understand them too. And then there is the dogma and the ways of doing things, but the Church must be freed from this patriarchal grip. Women must be able to have their opinion and give it. I think it shudders, with committees of men and women coming together to reflect on the Catholic Church. It’s a good sign, but they still remain submissive, as representatives. But forbid to do the Office. It’s crazy.

At one point in the film, Patrick Catalifo says that the Office given by a woman is inconceivable because in the Catholic liturgy, the priest at the Office is the incarnation of Christ on Earth. And that Christ being a man, only a priest can incarnate him. The answer appears like a pirouette, what do you think?

In any case, we find pirouettes in everything, insofar as we are always confronted with the interpretation of the texts. We sometimes witness totally erroneous interpretations which oblige women to imprison themselves, to veil themselves, to prevent themselves, and this would be deduced from the texts. But when you read them, you can interpret them completely differently. We are dealing with dogma. Me, I love faith, for what it has of openness and love, tolerance and empathy, but dogma puts me off.

Exactly, haven’t religions been limited for ages to a quest for political power instead of spiritual?

I think that religion can be beautiful, when it is not radical, precisely because imbued with great spirituality. There are different ways to be imbued with one’s religion. Whether you are Catholic or not. I was baptized Protestant, and I feel closer to Protestantism than to Catholicism, although… But I have spoken with progressive priests, they are wonderful, imbued with their beliefs and ask themselves questions , are called into question. Their faith is constantly being tested, it’s quite wonderful to dedicate your life to that. It’s a perpetual questioning, the Jewish religion never stops questioning itself, ad infinitum. Then there are the radicals who want to impose absolute obscurantism and these are the ones who make the most noise, but there are many people who are very moderate and who live their faith with great generosity and openness. And these are the ones who must be respected, not the others.

This is Catholicism in “Magnificat”, and the place of women in dogma, while Protestantism allows the priest to live as a couple.

I find it very complicated to deprive human beings of sexuality. You have faith, you are a believer, and for all that you must only love God and must not have sexuality, it is debatable.

It is said in the film that there were several cases of women impersonating men in the Church. Can you confirm it to us?

I guess, yes. I didn’t go to check, but it must have existed, of course. The direct way in which Virginie Sauveur introduced the case is remarkable from this point of view. Nothing is plundered, since everything is given from the outset.

Have you prepared for this particular role of diocesan chancellor?

I didn’t meet any clergy, I understood from the script what it was about, I didn’t need a subtitle.

The duo you form with François Berléand works very well, have you ever played together?

I know him well, but I don’t remember having met him on a film. Playing separately on the same film, but without a common scene, perhaps. But he is a friend, a delicious being. He is someone with whom it is very easy to get in touch, very accessible. So the discussion on set was very natural, we had fun. Him as a priest (bishop), with this strong hierarchical relationship, and the magic happens. There are people you can appreciate in life and deep down you don’t play that well with them. Conversely too. It’s true that there, we get along very well and that this game of ping-pong works well. It’s like dancing: you are invited to dance and you can be surprised to dance so well with your partner, while another can step on your toes, spin you around, crush your hand and you feel that it doesn’t work, that we are out of time. It’s the same for actors. Sometimes the rhythm of an actor destabilizes you, it can take a long time to respond for example, you can feel “derhythm” in fact. But you have to adapt, that’s also the principle, but suddenly it takes or it doesn’t.

We will see you in “Madame de Sévigné” by Isabelle Brocard, can you tell us a few words?

Yes, the movie is over. I play the countess. It is based on Madame de Sévigné’s correspondence with her daughter, with very complicated relations between them. It’s a film that we shot a year ago, and which will be released on January 14, 2024. And I’m also lately in A night by Alex Lutz which comes out July 5th.