It’s been nearly sixty years since 24-year-old Catherine Deneuve and her older sister Françoise Dorléac starred as twins in *The Young Girls of Rochefort*.
The movie, which also featured a young Gene Kelly, was the last film the sisters made together. Deneuve went on to become internationally famous, while Françoise’s life and career were tragically cut short.
Born into an acting family, Deneuve, now 79, made her first appearance in the 1957 French movie *The Twilight Girls*. Her big break came in 1960 when she starred in *The Umbrellas of Cherbourg*, a romantic musical that highlighted her French style and innocence, launching her into stardom. This was just the beginning of many films she would make with director Jacques Demy.
Her talent for dramatic roles caught the eye of legendary director Roman Polanski, who cast her in the psychological thriller *Repulsion*. Deneuve’s brilliant performance as Carol, a mentally troubled woman, earned her the nickname “ice maiden.” This image was solidified in her next film, *Belle de Jour*, where she played a housewife who secretly works as a prostitute—a role that won her awards and global fame.
In 1963, Deneuve became a mother, having a son with French screenwriter Roger Vadim. She later had the chance to star alongside her older sister, Françoise Dorléac, in the 1967 musical *The Young Girls of Rochefort*. The two sisters were very close, and with their similar looks, playing twins in the movie felt natural.
But just three months after *Rochefort* was released, tragedy struck. Françoise, at only 25, died in a car accident, a moment Deneuve describes as the most painful in her life.
“The day I lost my sister, I lost my joy of living… it is the most painful thing I have experienced,” she shared in an interview with *Paris Match*, a French weekly magazine.
The loss of her sister didn’t slow down Catherine Deneuve, who became the epitome of 1960s glamor, often seen as a femme fatale wrapped in Yves Saint Laurent.
Deneuve, known as the face of French cinema, has appeared in over 120 films throughout her 60-year career. Reflecting on how the industry has changed, Deneuve explained, “Human nature is vast. There are roles more suited to people of my generation. As you age, it’s the same in life—you gain experience and play characters you couldn’t when you were 30.” She added, “It’s hard to find the right path. You can age better in Europe than in America. But women today look younger than they did 50 years ago. Back then, a 50-year-old woman looked her age. Now, not so much.”
Despite her worldwide fame, Deneuve has mostly starred in French films, with only a few roles in English-language films.
Catherine Deneuve explained why she mostly supports French cinema, saying, “I feel very French, but I speak Italian and English, so I feel very European. However, I don’t feel close to English people. Even though England is not far, their sensibility and character are very different.” She added, “I feel closer to Spanish or Italian people because the Latin character is different from the Anglo-Saxon one. We have different educations and cultures.”
Some of her English-speaking roles include *The April Fools* with Jack Lemmon (1969), *Hustle* with Burt Reynolds (1973), *March or Die* with Gene Hackman (1977), and the 1983 cult classic *The Hunger*, where she played a lesbian vampire alongside David Bowie and Susan Sarandon.
In 1972, Deneuve divorced British photographer David Bailey, whom she married in 1965 after meeting at a Playboy shoot. Their wedding guests included Mick Jagger. From 1970 to 1974, she was in a relationship with Italian film icon Marcello Mastroianni, with whom she had a daughter in 1972.
In 1980, Catherine Deneuve delivered an award-nominated performance in *The Last Metro*, starring alongside another famous French actor, Gérard Depardieu. This marked the beginning of a successful collaboration, as they would appear in 15 films together.
Deneuve mentioned that she and Depardieu have similar work styles, saying, “We are both instinctive actors. We prefer to arrive on set and figure things out in the moment rather than rehearse ahead of time.”
In the 1990s, Deneuve received an Oscar nomination and a César Award (France’s national film award) for her role in the French period drama *Indochine*. The film, released in 1992, also won an Oscar for Best Foreign Language Film.
The 2000s introduced Catherine Deneuve to new roles, including the award-winning musical drama *Dancer in the Dark*, where she starred alongside the unique Icelandic singer Björk. In 2010, she reunited with Gérard Depardieu for the eighth time in the film *Potiche*.
After appearing in the 2019 film *The Truth* with Ethan Hawke and Juliette Binoche, Deneuve was filming the French movie *Peaceful* when she was hospitalized due to a stroke. Although her family described it as a “very limited” ischemic stroke, production on the film was delayed until July 2020, when the then 76-year-old actress was able to return. Deneuve, who had smoked since she was 16, finally quit after her month-long hospital stay.
Honored with a lifetime achievement award at the 2022 Venice Film Festival, the French icon, who celebrates her 80th birthday this year, continues to thrive, and we look forward to seeing her in many more films!
Mother-in-Law Didn’t Expect That Breaking Up Her Son’s Family Would Boomerang Back on Her
Ludmila sat at the kitchen table, absently tapping her spoon against the edge of a cooling cup of tea.
Through the window, she watched Marina carry the last of her boxes to the car. Finally, Ludmila thought with grim satisfaction, this outsider is gone from my son’s life.
She snorted quietly. Everything had gone according to her plan. The marriage had fallen apart, just as she intended — all thanks to her careful interference.
“She fooled you completely,” she had told her son Alexey over and over. “Lazy, selfish — couldn’t even keep the house in order. You deserve better.”
But Alexey sat silent, his fists clenched in frustration. He knew the real reason his marriage had failed — his mother’s constant meddling, her sharp remarks, her endless suspicion. Marina wasn’t perfect, but she didn’t deserve what had happened.
Ludmila had seen her as a threat from the beginning. First came the little comments: “Are you sure she’s faithful to you?” Then the lies: “I saw her with another man at a café.” And finally, the cruelest blow — a planted letter, supposedly from Marina’s secret lover.
That was the breaking point. Alexey lost his temper, accusing Marina of betrayal. Tearfully, Marina had only said, “If you trust her over me, then we have nothing left to say.” The divorce followed soon after.
Ludmila was delighted. She imagined Alexey returning to her care, as he had before marriage — eating her meals, listening to her advice, dependent on her again.
But things didn’t go as planned.
Alexey wasn’t happy. He grew distant, withdrawn. One evening, he quietly asked her, “Are you happy now, Mom? Marina’s gone. I’m alone. And I barely see my daughter. Is this really what you wanted?”
Ludmila couldn’t answer.
Soon, Alexey stopped coming to see her altogether. He rarely answered her calls. Meanwhile, Marina, far from falling apart, was thriving. She found a new job, bought a small apartment, and seemed freer, stronger.
That’s when Ludmila realized — she was losing everything. Her son was slipping away. Her granddaughter Liza avoided her. And Marina, whom she had once called weak, was building a new life.
Months passed. The silence in Ludmila’s home grew unbearable.
Desperate, Alexey tried reaching out to Marina — calls, messages, apologies. But Marina’s reply was always the same: “It’s over. Move on.”
When he visited her one day, Liza opened the door — and closed it in his face without a word.
That night, Alexey ignored his mother’s call for the first time. Ludmila called again and again, but there was only the empty ring of rejection.
She decided to visit him. Alexey answered the door, unshaven, exhausted, his eyes empty.
“Look at yourself!” she burst out. “All because of that Marina!”
But Alexey’s voice was steady, stronger than she’d ever heard: “No, Mom. Not because of Marina — because of you. You destroyed everything. I lost my wife. I lost my daughter. And now I’m losing myself. I don’t want to see you anymore.”
It was the first time in her life that Ludmila felt powerless.
Days passed. No calls. No visits. The house was silent.
One afternoon, wandering through the neighborhood, she passed the old playground where she used to take Liza. She saw a little girl on the swings — her granddaughter’s familiar silhouette — and her heart clenched.
Memories came flooding back — sticky hands, carefree laughter, summer afternoons.
Ludmila had thought she was saving her son, protecting her family.
But in the end, she had lost them both.
Now, all that remained was silence.
And it was far too late to fix it.
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