Facing the mirror, Leila Bekhti carefully removes her makeup.
The child growls behind her.
The beauty takes off her makeup.
The child growls again.
Exasperated, the beauty leaves the room and slams the door.
Let's educate this kid in her place, she can't take it anymore!
This scene, one of the strongest in
The New Woman
in theaters this Wednesday, illustrates the dilemma of a Parisian cocotte who, in 1900, begs doctor Maria Montessori, played by Jasmine Trinca, to raise her deficient daughter as one gives in to a child. pack.
Léa Todorov's film highlights the work of the Italian teacher Maria Montessori and her intentions in favor of those deprived of existence.
We wonder by what regrettable process the one who was one of the first female doctors, a fine mind admired by
Pope
Benedict
our time a heritage that is both omnipresent, “Montessori chair”, “Montessori nurseries”, “Montessori games” and fragmentary given the depth of its views.
What has become of the social ambition of “the most peaceful of revolutionaries”?
At the time when Todorov's film takes place, Maria Montessori is thirty years old.
A doctor for four years, brilliant by all accounts, she directs the school of orthophrenia in Rome alongside Giuseppe Montesano, her…
This article is reserved for subscribers.
You have 89% left to discover.
Flash sale
€4.49/month for 12 months
I ENJOY IT
Already subscribed?
Log in