In the 19th centurye century, in a village in Brittany mired in economic gloom, Rosalie keeps her unique condition a secret. In fact, the young woman suffers from hirsutism, so she shaves her face every morning. But one day, Abel asked for her hand. In debt, this café owner is after Rosalie’s dowry, who sees this as an opportunity to realize her dream of becoming a mother. It is only once married that Rosalie reveals her condition to a revulsed Abel. However, rather than continuing to hide, Rosalie decides to take responsibility, in doing so attracting a clientele of curious people to Abel’s business. In the movie Rosalieunveiled at Cannes last year in the Un Certain Regard section, Nadia Tereszkiewicz wows as a non-conformist heroine.
The screenplay by Stéphanie Di Giusto, who also directed the film, Sandrine Le Coustumer and Alexandra Echkenazi, is very freely inspired by a historical figure: Clémentine Delait (1865-1939). Through its bearded protagonist, the film pertinently criticizes the dogmatic standards of beauty from one era to another.
In subtext, Rosalie also takes on the value of advocacy in favor of the acceptance of difference in others, as well as in oneself.
Certainly, the film succumbs midway to the temptation of integrating a service villain into its plot: this rich landowner to whom Abel owes money, and who takes a dislike to the uninhibited Rosalie. This unsubtle part clashes with the finesse of what has gone before, and looks a lot like a narrative compromise aimed at generating tension at all costs. The film could have done without this concession to classic dramaturgy, especially given the iconoclastic content of the subject.
In this, the heroine’s psychological curve, which goes from dissimulation to affirmation, proves to be much more gripping. The evolution of the relationship between Rosalie and Abel is just as important. Indeed, wife and husband lied to each other by omission at the time of marriage; she, by not saying a word about her condition, he, by keeping silent about the lamentable state of his finances.
Except that, gradually, Abel surprises himself by falling in love with Rosalie in all her independence, and in all her difference.
Elegance and refinement
As a spouse who slowly succumbs, almost in spite of himself, to the atypical charms of the woman with whom he initially married out of interest, Benoît Magimel continues to string together excellent performances, notably after In his lifetime, Peacetion And The passion of Dodin Bouffant.
As mentioned, however, it is Nadia Tereszkiewicz (Baby sitter, My crime) who dominates, all passion and stubborn resilience.
The performers also honor their chiselled dialogues. “I was hoping you would be different,” she says. “And I hoped you would be like the others,” he retorts.
Stéphanie Di Giusto stages everything with discreet elegance and a refined sense of symbolism. We think, for example, of this sequence, at the beginning, during which Rosalie crosses the forest in a cart. From the sylvan depths suddenly sounded the echo of barking, which immediately alarmed the young woman. A pack of hunting dogs comes…
Although Rosalie is ultimately in no real danger, something about her visceral reaction suggests that she feels like a hunted beast. Moreover, the film makes inspired use of untamed Breton nature. Again, like its heroine.