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Virginie Efira
(Schaerbeek, 1975) is the exact opposite of almost everything.
One of the most respected actresses in French cinema is actually Belgian;
Recognition and awards have reached that age at which actresses (not actors) are traditionally relegated, and she has been able to impose her ideas and impose herself after a whole life stigmatized and marked by coming from the world of the most commercial TV (perhaps rubbish).
Now she has just released
The Children of Others
, by Rebecca Zlotowski, where she plays a stepmother, and, to no one's surprise, she once again shows that stereotypes suck.
"The idea that women are fulfilled only through motherhood and that the very meaning of femininity is procreation are, without a doubt,
two more victories for patriarchy
," he says to break the ice and set the limits of the conversation.
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She says, she is the mother of a daughter, that if she agreed to make the film it is because she has also spent a lifetime without knowing how to deal with the children of her peers.
«At only 22 years old I became a stepmother, and I discovered how strange is the affective relationship that you establish with your spouse's child.
You never know what is the correct closeness or distance to keep regarding his education ».
He also says that for a long time he spent apologizing for that impostor syndrome after his television past.
"Being late for the movies has made viewers never tire of me
. "
And she does not miss the occasion that has been, before becoming a stepmother, the wife of an abuser in
An Impossible Love
(2018), a psychologist who becomes obsessed with a patient in
El reflex de Sibyl
(2019) and, of course, a lesbian nun in
Benedetta
by Paul Verhoeven (2021) to warn against what she considers the dangers of fundamentalism: «It is a luxury and a privilege to work with women directors, but it should not be forgotten either [and here the mind goes to her dear Verhoeven] that feminism was not invented by the Metoo ».
Virginie Efira counts her films by nudes.
And also here she navigates against it to affirm loud and clear that she plays those scenes proud and happy.
"It's not difficult for me, as long as they are not merely illustrative,"
she clarifies.
«My characters are very aware of their own body and use it as an instrument to exercise their freedom;
They are in no way sexual objects.”
It is clear.
Efira or the opposite of almost everything.
According to the criteria of The Trust Project
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actresses
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