Catherine Deneuve on Playing a ‘Punk Fairy Godmother’ in Léa Domenach’s Venice-Bound ‘A Man’s Skin,’ a Feminist Medieval Musical (EXCLUSIVE)

French cinema icon Catherine Deneuve returns to the screen in a distinctive role for Léa Domenach’s forthcoming film, “A Man’s Skin” (Peau d’Homme), which premiered at the Venice Film Festival’s Giornate degli Autori section. The medieval-set musical marks a reunion between Deneuve and Domenach, following their collaboration on the 2023 film “Bernadette.”

“A Man’s Skin” adapts the graphic novel by Hubert and Zanzim, reimagining its story through a feminist lens and a playful tone. The narrative centers on Blanche, a young woman in the 15th century who receives a magical “man’s skin” allowing her to transform into Léonard. This transformation grants her access to male privileges in terms of power and sexual freedom, spotlighting the gender inequities of the era.

Director Domenach co-wrote the screenplay with Clemence Dargent, opting to amplify the comedic and musical elements of the source material while maintaining its critical themes. She addressed contemporary social issues such as sexism, religious extremism, and homophobia, embedding them within a joyous cinematic atmosphere to engage a broad audience. Domenach also incorporated subtle political satire, with characters inspired by modern political figures to underline persistent societal challenges.

Deneuve’s role as a “punk fairy godmother” adds a unique dimension to the film’s tone, blending her seasoned screen presence with musical performance. The actress, known for her previous musical roles in classics by Jacques Demy and more recent works by François Ozon and Christophe Honoré, expressed enthusiasm about the musical format, highlighting how it enriches storytelling through song and dance.

The film’s feminist outlook continues themes explored in “Bernadette,” where Deneuve portrayed the wife of former French President Jacques Chirac. Both films explore women breaking free from traditional roles to assert autonomy in male-dominated spheres. Domenach intentionally shifted the adaptation’s focus towards female characters, giving them greater narrative prominence than in the original graphic novel.

Despite Deneuve’s nuanced stance on feminism, preferring not to be labeled strictly as a feminist, the collaboration with Domenach demonstrates a productive engagement with gender debates. The film arrives at a moment of complex social dynamics, as progress on gender and LGBTQ rights contends with rising nationalism and backlash, a tension reflected in the film’s thematic fabric.

Financing the project proved challenging, reflecting broader difficulties faced by mid-budget films in France’s evolving industry landscape. While large-scale productions and low-budget arthouse films find their niches, mid-range projects like “A Man’s Skin” increasingly struggle for support. Deneuve acknowledged these industry shifts, noting the decline in opportunities for middle-ground films even for established talents.

The production assembled a strong cast including Karin Viard, Stefan Crepon, and Laurent Stocker, with backing from prominent French producers Antoine Rein, Fabrice Goldstein, and Alain Attal. Distribution responsibilities are shared between Playtime internationally and Diaphana in France, with the film slated for French release in January 2027.

Venice remains a significant venue in Deneuve’s career, where she previously received the Volpi Cup and a Golden Lion for Lifetime Achievement. Her fluency in Italian and deep ties to Italian cinema contribute to her comfort at the festival. As “A Man’s Skin” embarks on its festival run, it offers a distinctive blend of medieval spectacle, musical joy, and pointed social commentary, underpinned by a collaboration bridging generations of female cinematic storytelling.