Leila Bekhti. “40 years old, 4 children. I say to myself: that’s it, I have my family.”

Everyone has a more or less correct idea of ​​what the Montessori method is. However, few people know the story of its creator, Maria Montessori. Born in 1870, she was one of the first women to receive a medical degree in Italy. Specializing in psychiatry, he first developed his pedagogy with disabled children, then called “idiots”. To do this, she braves the contempt with which these children are treated, as well as the sexism she is subjected to. She refuses to raise her son, Mario, born from her relationship with her psychiatry professor, whom she refuses to marry in order to preserve her freedom. Above all, this story is told by director Lea Todorov The new womanin theaters on March 13. A fictional Maria Montessori, played by Jasmine Trinca, dear friend Lily d’Alengy, a Parisian girl who confides in her daughter Tina, a “different” child whose existence she tries to hide. A free woman with sometimes obscure outlines, whose audacity will inspire him.

Leila Bekhti, who plays the courtesan, admits. it’s rare that a character has been so far from him. Her almost greedy glee at slipping in her wigs and neat dresses is matched by her difficulty in understanding the complex woman who, at the beginning of the film, does not love, or dislikes, her daughter. A challenge that fascinated her, who just gave birth to her fourth child at the age of 40. Meeting.

Madame Figaro: What did you like about the script? The new woman ?

Leila Bekhti: Many things. At first I liked the idea of ​​a movie about a singer, it’s a story of two women who help each other. My meeting with Lea Todorov was also important. I loved his take on the kids as well as the characters. There is never anything condescending about him. I could have hesitated if the film was too didactic, moralizing. it is not. My character, however, is far from me. at first it worried me, I thought how I could embody this rejection in front of the child. But what I loved about Leah’s writing is that Lily represents a large part of society, the one who looks away when she meets children with disabilities. At the same time, he also embodies freedom. it is this ambiguity that enticed me. I had to go find things in him that I don’t necessarily understand. But I often say this. this job allows you to work on human nature, which is fascinating. And I hate giving my characters extenuating circumstances for fear that people won’t like them.

You perform a scene where your character learns of her mother’s death and witnesses the hit while wearing a beauty mask. Why this choice of staging, which makes it more difficult to express feelings?

That’s what Lea wrote. It was intentional and quite figurative. Lily defends herself. This “mask” will disappear as the film progresses. Lily is free, but her freedom has a price. She does not want to be at the mercy of men, but seduces them to take advantage of their money, and therefore appearance is important to her; she must have the most beautiful dress, etc. Meanwhile, its economic survival hangs in the balance. on it. Lily is constantly in a posture, which was very difficult for me, I hate it, I can’t be gentle with such people. But it was also fun to play.

The children we see in the film are neurotypical. How was filming with them?

It was very happy. Above all, these were children who wanted to be there, it was not a question of the parents’ wishes, even if they were also present. It’s important to say, and they had a lot of fun. The Montessori method, at least at the time, was really sensory-based, communication-based. And so it was on set where we weren’t afraid to hug each other. I met Raphael Sonneville-Caby, who plays my daughter Tina, before filming. They come home, we talk normally… It was more important with Rafael, because he had to clearly distinguish between “Lily” and “Leyla”. And it was a real meeting. Rafael is a wonderful, curious little girl. She doesn’t realize it, but she is a great actress who speaks with her eyes.

I always take my children with me, they were also on the set The new woman in Rome

Leila Bekhti

What did you learn from interacting with these children?

That they are brave and that they have crazy emotional intelligence. I don’t know if it taught me anything, but it reinforced my idea that emotional safety is essential; when a child loves him, he is happy. What I also saw was the courage of the parents. What they do is extraordinary. I realize how much we should support these children, make their daily life easier. There is still a lot of work to be done. They should be included, they are a part of society. This is important for all children, whether they have a disability or not. All must meet.

What did you know about the Montessori method and its creator?

To be honest, I did not know the story of Maria Montessori at all. I didn’t even know that she started working with disabled children, nor that she had a child, a son that she had to leave to take care of others. It’s a decision that applies even more to me now that I’m a mother. Maria Montessori revolutionized something, but it was a real lifestyle choice.

This is also a question that is often asked actresses whose work we imagine requires a lot of personal involvement, sacrifices in personal life…

I always take my children with me, they were also on the set The new woman in Rome. These are real backpacks. when I get to the airport, there is a lot of organization, I have to be careful not to put my son in the luggage (laughs). But it’s also very selfish. Grand Corps Malade says this in one of their songs (Stop dreaming, Editor’s note“I was with you all the time so you wouldn’t feel like you were growing up.” I have the same thing about me: I don’t want to miss anything. I love my job madly, it makes me happy in many ways, but not to the detriment of my personal life.

The new woman says something important about motherhood, about getting to know a child, beyond a mother’s love, which is vague.

Yes, it is dizzying and it is unique to each person, there are no instructions. Hello to those who found it. Because as I have seen with my 650 children (is laughing), we have completely different ways of being with them from one to another. We meet our children throughout their lives. Every age brings a question mark, especially about what we will pass on to them. This involves real work on yourself. And I don’t want to hand over my pots to them.

We meet our children throughout their lives. Every age brings a question mark, especially about what we will pass on to them

Leila Bekhti

Not conveying our fears and anxieties to them, isn’t that also constant pressure?

I was talking about emotional security. children give us that too. There is one important thing for me: I make sure that they never worry about me. That is not their role. It is important that they keep their childish spirit. What we are trying to convey to them is curiosity, not to annoy them. Also, make them realize that they are lucky because they don’t have many children today. It’s a lifetime’s work, but it’s worth getting up for every morning. In any case, it gives me strength.

You just turned 40, how do you feel about passing this milestone?

I can’t believe it. It’s like when someone told me that when I go to New York, I’ll experience this, that, incredible things… I loved New York even if I didn’t feel anything at all. That: Maybe it’s because I just gave birth. 40 years old, 4 children. I say to myself: that’s it, I have my family. There may still be a lot to configure and do. But when I was little, I remember, looking at my mother, I imagined that I too would have my family, my lover, my children… The love that exists in my home today is even better than in my dreams. I have a husband who is my best friend, children who are my best friends. After all, that’s all there is to it.