Lucile Hadzihalilovic’s first feature-length film is an austere and ominous parable about the societal limitations imposed on young women.

A group of girls dressed in white open a coffin to reveal a young girl, Iris (Zoé Auclair). They are in a house that is one of five, each with seven girls and part of a private academy set in a walled forest. The relative age of each girl is marked by the colour of their hair ribbons and the arrival of Iris means that the role of youngest – red – passes to her. The oldest – violet – is now Bianca (Bérangère Haubruge) and she mysteriously journeys to the academy, an imposing mansion in the centre of the grounds, every evening for some secret purpose due to her new position in the hierarchy.

At the academy during the day, the girls are grouped according to age (and ribbon colour) and learn ballet from two prim teachers, Mademoiselle Eva (Marion Cotillard) and Mademoiselle Edith (Hélène de Fougerolles). There is conflict from Alice (Lea Bridarolli) – blue ribbons – who desperately wants to be chosen by the Headmistress (Corinne Marchand) during her annual visit where she chooses one ‘blue’ to be taken away for an ‘opportunity’.

It’s all very obtuse and the nature of what the girls are being groomed for is intentionally kept from us. We observe how some try to impose the hierarchy on each other, how some try to subvert it and the jealousies that arise where privileges are scant and carefully controlled. Alice’s desperation to be chosen for something that will set her apart and might be glory or tragedy is palpable.

The lushness of the forest and lake is sometimes glorious – the girls bathing unselfconsciously – and sometimes ominous – Bianca following the lighted path at night. It contrasts with the pristine whiteness of the girls’ uniforms – innocence, prepuberty – and the rich colour of the ribbons – the girls’ only power. Hadzihalilovic makes us wait for the denouement and, even then, it is ambiguous, forcing us to reflect on everything we have seen but, in doing so, turning all our assumptions on their heads.

It’s not an easy film but I felt like I had watched something that commented strongly on the limitations imposed by the notion of innocence and the complex and dangerous journey for those who have the protection of innocence taken from them. The last scene is quite glorious in its power and contrast with everything we have just seen. Hadzihalilovic pulls away the curtain and forces us to contemplate our complicity.

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