Opening 19 Sep 2024
Directed by:
Stéphanie Di Giusto
Writing credits:
Stéphanie Di Giusto, Sandrine Le Coustumer, Jacques Fieschi, Romain Compingt, Alexandra Echkenazi
Principal actors:
Nadia Tereszkiewicz, Benoît Magimel, Benjamin Biolay, Guillaume Gouix, Gustave Kervern
“Accept your woman’s lot,” le père (Gustave Kervern) tells daughter Rosalie (Nadia Tereszkiewicz) after dropping her into a new village, husband, and life in 1870s Brittany, France. Abel Deluc (Benoît Magimel), basically a decent man, is down on his luck and Rosalie’s dowry will go a long way toward paying off his debts. She knows her father has tricked him, just as she will bear the brunt of whatever happens. Unbeknownst to Abel, Rosalie shaves closely every day. On their wedding night after seeing chest hair Abel storms out reviling her. Mortified, Rosalie perseveres. The small mill village, meanwhile, is overwhelmed with curiosity. As the café owner’s wife, Rosalie creates a role for herself, much to his annoyance. A stubborn, embarrassed, confused, and torn Abel watches her. Overhearing his conversation with the frosty debtholder and estate owner Barcelin (Benjamin Biolay), and desperate to change their impasse into a relationship, Rosalie concocts a plan. Making a bet with patrons Pierre (Guillaume Gouix) and Camilius (Lucas Englander) she could grow a better beard than a fairground attraction’s, time passes. Ready for the worst, Abel’s surprise is telling. What he has missed, the community sees. Rosalie’s fame spreads and her contagious personality attracts more to their café—even the persnickety estate owner. While the meanspirited manipulate events and fix the odds until even the denouement surpasses their deplorable imaginations.
French director Stéphanie di Giusto’s co-written screenplay with Sandrine Le Coustumer based on Le Coustumer and Alexandra Echkenazi’s treatment was inspired by the fascinating character of café keeping Clémentine Delait (1865-1939), France’s illustrious bearded lady. Rosalie emulates the stuffy conformity and mindset of that period: women were owned, landowners were deemed unquestionably right in all matters, and men adhered to pecking orders of whatever station they carved-out for themselves. Which is another reason Rosalie stands out—Tereszkiewicz’s performance is stunning, balanced by Magimel’s and the amazing cast. Although lacking in love, she is educated, feisty, kindly dispositioned, independent, and curious. For some this is untenable, i.e., take note of swirling negative undercurrents in dialogue/actions.
Christos Voudouris, filming on location, cinematography is gorgeous. Lingering close-ups portray or portend emotional implications or the atmospheric wonders of settings. Hania Rani’s music, used sparingly, lovingly flavor the scenes where applied, oftentimes with merely a haunting violin, piano. Nassim Gordji Tehrani’s editing is effective, mildly repetitive. While the sound (Thomas Desjonquères, supervisor), costumes (Julie Vignot), production design (Laurent Ott), et al. pull audiences into this historical drama’s poignancy. Rosalie’s world premiere was at 2024 Cannes Film Festival in the Un Certain Regard section. Its intimations and undertones accentuate the price/cost of being different, and attendant jealousies. Also, do not take anything at face value… including the end of the film. (Marinell Haegelin)
