Every day, a personality invites itself into the world of Élodie Suigo. Wednesday April 10, 2024: The actress, Nadia Tereszkiewicz. She stars in the film “Rosalie” by Stéphanie Di Giusto alongside Benoît Magimel.
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Nadia Tereszkiewicz is a Franco-Finnish actress, noted for her role as a crazy lover in Only the beasts by Dominik Moll in 2019 and in the Franco-Israeli series Possessions broadcast on Canal+ in 2020. She was notably rewarded with the César for Most Promising Actress in 2023 for her role as Stella in the semi-biographical drama The Almond Trees by Valeria Bruni-Tedeschi. In 2016, she made her first appearance as an extra in The dancer by Stephanie Di Giusto. The director called on her again for the film Rosalie which comes out Wednesday April 10 and in which she stars alongside Benoît Magimel. In this committed and engaging film, she is Rosalie, a woman from 1870. She has been hiding a dark secret since her birth. His face and body are covered in hair. To avoid being rejected, she shaves. She marries a landlord who will quickly discover the pot aux roses. So he will have to learn to love her.
franceinfo: Rosalie is truly a look at love and the pangs of love.
Nadia Tereszkiewicz: Yes, that was it, beyond appearances. If we manage to forget this beard, question love today, question what femininity is in a society where we judge people who are different a lot, well, I hope that the film calls for a little more of tolerance.
Hasn’t difference ultimately become a strength over time?
In any case, this character, Rosalie, makes her particularity a strength and I have the impression that it is a fight with which I identify in the sense that throughout the film, she seeks to accept herself. , free oneself from the gaze of others.
“‘Rosalie’ is a film that questions the freedom to be oneself.”
Nadia Tereszkiewiczat franceinfo
The director says that she had auditioned several actresses before you and that when you arrived, you were the only one who was one with that beard. What justifies this? Is it the fact that you danced before? You must have been a prima ballerina. Dancing is something very difficult. We must adhere to its dictates, its codes. Did it work?
Perhaps it unconsciously played a role in the fact that I found in cinema a form of freedom to play different women because dance brought me a lot. It’s been a wonderful few years. They also charged me emotionally. But it was also very difficult on judgment, on the body and where we try, at least for classical dance, to seek a form of standardization. In fact, it’s more difficult to become a woman if you don’t follow the codes of classical dance and the idea of abandoning yourself. You were talking about Valeria Bruni-Tedeschi, she told me: “The ridiculous is wonderful“. And there, I find that I am not ridiculous. I kept this sentence which says that we must free ourselves from all eyes, even if we are dependent on the eyes of others, try to abandon ourselves and to let go.
“With this character, I had the impression of also working on myself, it was not trivial because literally, the beard stuck to my skin.”
Nadia Tereszkiewiczat franceinfo
Your mother is Finnish, your dad Polish. You always have quite a marked personality from the beginning because one of your directors suggested that you change your last name, telling you that if you wanted to succeed in this industry, you had to change this last name and you resisted.
It’s true. No, but I won’t change and that seems crazy to me. I couldn’t have told my grandfather that I had changed my name. Besides, it’s my only link to Poland because I don’t feel Polish. I feel very Finnish.
You speak Finnish fluently.
Yes, it really is my mother tongue. It is the language of my early childhood. It’s still something. I believe that we are still strangely, very strongly linked to things from early childhood.
You first made Hypokhâgne, Khâgne. Afterwards, you did the free class of the Florent course. And there, it seemed obvious from everyone. Did it become obvious to you that this profession was the one that would accompany you throughout your life?
Actually, I don’t know. I hope. In any case, I realized to what extent there is everything I love in cinema, my passion for literature, dance or meeting so many people, traveling. Afterwards, I know that it is also fleeting. Nothing is ever acquired. There, I was lucky, I still met incredible filmmakers, people who really changed my life.
When we look closely at the roles, whether for My crimewhether for The Almond Trees for which you received this Caesar or there for Rosalie, there is still a bit of feminism, but positive feminism, that is to say the desire to say things through the films that you choose. Is this your commitment?
I’m happy if you say that. I have the impression that each time, I have played women who questioned me, who destabilized or who each time had, and this, I realized in an interview, an emancipation in the making. . I think about Red Island by Robin Campillo for example, where she is a woman in the 60s, but we feel that at any moment she can escape and she can emancipate herself and I thought it was beautiful to see depending on the era, what woman we are in the 30s, in the 60s.
Watch this interview on video: