A young Frenchwoman in Brittany harbours a secret about her appearance until she marries a suitor interested in her dowry in this gentle period drama.
Beauty standards are continuously evolving. What remains is that, in some way, we will always find ourselves feeling self-conscious about some aspects of our appearance. Our insecurities at times can make us seek refuge, feeling ashamed instead of acknowledging the beauty of our uniqueness. Stephanie Di Gusto’s second feature Rosalie advocates for a woman whose own insecurity challenges society’s standards on what beauty really is.
Set in 1870 Northern France, Rosalie (Nadia Tereszkiewicz) is living on a remote farm with her widowed father (Gustavo Kervern). Longing for a child and her happily ever after, her father sets up an arranged marriage to local tavern owner Abel (Benoît Magimel) who is drowning in debt and is desperate for his marriage’s dowry. What Abel is unaware of is that his bride holds a secret – she has a tendency to grow facial and body hair due to a condition presumed to be hirsutism, typically relating to the notion of ‘the bearded lady’.
While the condition is not really explained within the film, the story is loosely inspired by the life of the famous French bearded lady, Clementine Delait. To hide her condition, for decades she shaved her face daily to remove herself from any potential town gossip. As the pair take their vows and embark on married life, Abel is not best pleased when he discovers Rosalie’s well-kept secret.
It’s clear that Di Gusto and her co-screenwriters are not interested in telling a story about a troubled marriage but instead adopt a feminist angle. Instead of hiding her biggest insecurity, Rosalie decides to grow back her beard with the hope that curiosity among the villagers will encourage punters to visit her husband’s bar. We see her confidence growing now she is living authentically, with many in the town (especially the women) quickly becoming in awe of her – even Abel soon realises his true feelings.
Her confidence becomes tainted when a rich local businessman (Benjamin Biolay) who Abel owes money too disapproves of her new found awakening. Di Gusto’s finest work comes when she is celebrating her protagonist’s new-found freedom. The first half of the film provides depth into an argument about how judgemental we can be in regards to how we and others look.
In an era where fillers and cosmetic surgery are enabling our youth to change their appearance, to remain on this path could have provided a strong message to its audiences. Instead, by its second act we see Rosalie transforming into a typical emotional, romantic period drama. Tereszkiewicz is a force as the title character, embodying honest and raw emotions during some difficult scenes. Despite things at times feeling like two different films, its message is clear: we are all different, and that should be celebrated.
Little White Lies is committed to championing great movies and the talented people who make them.
Published 4 Jun 2024
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