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Nadia Tereszkiewicz

(Versailles, France, 1996) is one of the most in-demand French stars of the moment. Last year she was recognized with the

César

for best new actress and she has already worked under the orders of François Ozon; she the sister of Carla Bruni, Valeria Bruni Tedeschi, and Robin Campillo, in whose biographical drama 'The Red Island' she played the wife of Quim Gutiérrez.

However, she has felt a

deep shame

on the set of her latest film, 'Rosalie'. Every day he was bothered by the stares of the cast and crew because

of his bushy facial hair.

The young woman played a character inspired by Clémentine Delait, the bearded woman of the Vosges.

To give life to the protagonist of this period drama that hits theaters on April 12, she dedicated

four hours

every morning to a characterization process that was applied hair by hair. That morning ritual helped her make an immersion and, as happened to the real protagonist, who refused to be a victim of prejudice and ridicule from her neighbors, gain strong self-confidence and unexpected femininity and elegance.

According to her biography, this illustrious lady affected by hirsutism at the beginning of the 20th century took advantage of her uniqueness and managed her career as a

business woman.

Throughout her life, she ran a bar where curious onlookers came, sold postcards with her images, and starred in cabaret shows.

Why is it important to address this story from a century ago in the present moment? When I read the script I thought it was a very current story, with which the audience could identify. It is a great love story, but it also talks about tolerance, our dependence on the outside world and how we judge people who are different. The filming was in chronological order, how did it help you understand Rosalie's emotional process? , what goes from self-hatred to self-confidence? At first I had the impression of being a weirdo. It was hard, I didn't feel feminine at all, the look of others changed... It was important to identify through costumes the way in which Clémentine constructed a form of femininity through her posture, her hairstyle, her elegance. .. Little by little I began to accept it and forget that I had a beard. I went with it to the canteen, I went for a run...All your films coincide in being set in the past, what advantages has having a face like from another era had in your career? It makes me happy, because basically, I I'm not very 2024. I'm not technological at all, I don't like movies where I have to be in a bar smoking. I'm kind of out of date, so it's good for me to play characters from another era.

Nadia Tereszkiewicz and Benoît Magimel in a scene from 'Rosalie'.

What have you learned about the evolution of the situation of women by starring in these projects? I found it very interesting to witness the evolution of our rights. It is very powerful to live what it was like to be a woman in 1566, in 1870, in 1930, a decade in which French women did not have the right to vote or a checking account. Of course, and fortunately, we have made progress, but the road is still long and I am amazed to see the number of parallels with our present. I appreciate that cinema focuses on what it meant to be a mother in the 60s or on the aspirations and possibilities of a young woman in the 80s. It is revealing, because I embody them in the light of 2024. Is it a conscious choice to always play protagonists who rebel? It's not that I want to play characters in conflict, but it is true that I like roles that move me out of my comfort zone, that are annoying, complex and contradictory, that question the current codes of society. .. I like to question from fiction, so more than characters in struggle, I like those who experience a trigger in their lives. What is the purpose of a César award? It has given me confidence in myself, it has given me hope and I He told me that I could continue in this job. Having the recognition of people in your profession, of people that I have always deeply admired, is extremely encouraging.

The French actress in another scene from the film.

Curiously, in your room as a teenager you didn't have posters of actresses, but of the Muse singer. Yes, of Matt Bellamy, I was crazy about him. I also had photos of Pink Floyd, Björk and Pina Bausch, because I was a dancer. I love his choreographies 'Café Müller' and 'The Rite of Spring'. I didn't watch many movies, I preferred to read, I had so many books...How has your past as a dancer helped you in the physical aspect of your performances? In my spatial relationship with places. And something I love is that, sometimes, we say one thing and our body says another. I find it very interesting to analyze the characters through their body language. I have an instinctive relationship with the body. Do you read as much now as you did when you were a teenager? Not as much as then, when I read an incredible amount in a week. That nourished my imagination. Now I like to read things that prepare me for a role, because I create universes in my head. What is the last book you have read and would you like to recommend to us? 'The Art of Joy', by the Sicilian writer Goliarda Sapienza. It is a very beautiful book. Also 'The Last Summer in Rome', by Gianfranco Calligarich. It takes place in Rome in the 60s. I love that time and I speak Italian. It's funny then that you ended up becoming an actress. It was pure chance. I adored literature, also ballet, but I was convinced that they were not for me. Then came a role as an extra in Stéphanie Di Giusto's film 'The Ballerina'. When I discovered the set, I thought it was incredible. I felt like I had gotten into a book, that it was part of the literature and dance of the 19th and 20th centuries. Cinema is a mix of everything I like: the body, stories, trips, words, languages, emotions, encounters... I love acting. The more time passes, the more I like it.

  • cinema