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Opening 10 Apr 2025
Directed by:
Éric Besnard
Writing credits:
Éric Besnard
Principal actors:
Alexandra Lamy, Grégory Gadebois, Jérôme Kircher, Jérémy Lopez, Patrick Pineau
France’s modern republican school (l'école républicaine) system founded in 1881, with extensions throughout that decade, established universal free, secular education and was compulsory. Schoolteachers willingly responded to assignments throughout the country. In 1889, Louise Violet (an impressively strong, sensitive portrayal by Alexandra Lamy), receiving the mandate in Paris to “Prove your worth,” is sent to the backward farming countryside of Haute-Loire. Miss Violet must impose schooling on those dead set against change.
She quickly discovers a particularly perplexing problem upon arrival—villagers’ response to inquiries about the whereabouts of their mayor. Mayor Joseph (Grégory Gadebois), a well-built man of few words with a gruff exterior, settles her tout de suite; henceforth, Louise’s challenges increase exponentially. Nature’s embracing, capricious wonders and beauty make up for the snubs, slights, and obstacles heaped upon Louise by the tight community. Outwardly unbothered, inwardly her life experiences from 40plus years guide Louise’s determined concentration on important subjects, including in disagreements with the mayor. The postman (Jérôme Kircher) is friendly enough, the Pastor Francis (Patrick Pineau) cautionary, and Honorine (Julie Moulier) and Félicie (Géraldine Martineau) bothersome townswomen. When help arrives, unbeknownst, from Marthe’s (Annie Mercier) observations to her son, he takes charge. With Louise in tow and his daughter (Manon Maindivide) in line, the air is lighter, the community brighter. Louise proves not only herself, but education’s possibilities, its untethered frontiers. Unsurprising, eventually Marthe asks, “What are you not telling us?” Then, a devastating fire.
French writer-director Éric Besnard’s film is historically accurate, visually rich, and a frightful portent—just watching Louise Violet is educational. Lamy’s nuanced performance shows Louise’s evolution: warming to the community, relaxing into being assimilated, yet firmly in charge. Gadebois ably swings his character’s feelings and responsibilities, mindful of timing while playing off Lamy thus together representing adherence to traditions and progressive modernity. David Bertrand’s casting is tres bien, as is Madeline Fontaine’s costume design, and Bertrand Seitz’s art direction. Laurent Dailland’s cinematography opens vistas to the rhythms of living harmoniously with nature by filming on location (Haute-Loire and Puy-de-Dôme regions) adding more dimension that editor Lydia Decobert finesses. Christophe Julien’s score is seamlessly woven into the texture of the film. Besnard’s film tackles, compares social-economic issues that are currently relative: conservative vs progressive, discrimination, maintaining secular education, and educators’ challenges. Sometimes, people need reminding of just how slowly humans progress. (Marinell Haegelin)
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