After its screening at the Marrakech International Film Festival and a clutch of other gatherings, A Place for Her, Mélisa Godet’s first feature, has been shown at Filmfestival Oostende, in the Avant-première section, before it lands in French cinemas on 4 March, courtesy of Pathé.

The maison des femmes [lit. “women’s home”] referred to in the film’s original title is the place where most of the movie is set, perched on the outskirts of Paris. The Saint-Denis shelter welcomes women who have been victims of physical, sexual and psychological violence, and who are looking for support in a judgement-free environment. Here, staff members Diane (Karin Viard), Manon (Laetitia Dosch), Inès (Oulaya Amamra) and Awa (Eye Haidara) offer every woman exactly what they need, whether it be a listening ear, medical assistance or legal support. Nonetheless, the four women also have their own struggles to contend with, and their constant proximity to the challenges encountered by their patients takes a toll on their own stability.

Godet’s film is very linear, shot in a fairly pragmatic way, with no particularly innovative approach when it comes to the technical aspects. It is very well crafted but offers little of note from a visual point of view. Yet it’s a feature that works because of its plot and its screenplay, which confirms that an audiovisual work doesn’t always have to go the extra mile to break the rules of its genre in order to be considered artistically successful. In this case, the French director decided to focus her attention on an accurate and respectful representation of the women’s story that she opted to narrate, nailing the emotional side of all of the characters, even when using slightly stereotypical approaches. Also in the mix is a finely balanced amount of comedy, in unmistakable French style, that helps the tone of the film feel less heavy.

The most interesting aspect of A Place for Her is that there is a lot going on in the stories that are told by the patients in the shelter, but no violence is really shown at any point. The film almost seems to follow the rules of Greek tragedy in not showing any murders or violent acts on screen, instead narrating them through words. This approach proves to be a shrewd one, and the psychological tension thus reaches heights that are only achievable when a helmer has a good grip on the script and the mise-en-scène in general.

Overall, Godet plays it safe with certain stylistic choices while also taking risks with the kinds of topics she deals with, asking the audience to ride an emotional rollercoaster that hits even harder when we are reminded that, despite the film being fictional, femicides, female genital mutilation, domestic violence and arranged marriages with minors are realities that women deal with on a daily basis all around the world. In this sense, this is a necessary work that strikes some painful chords, which will undoubtedly do well in cinemas and work well with a broader audience. For a movie dealing with such topics, this is the right approach in order for it to serve as a warning to society and an eye-opener, while also providing heartwarming proof that certain social realities can be changed through concerted effort.

A Place for Her was staged by France’s Une Fille Productions, with co-production support from Pathé, Chapter 2 and France 2 Cinéma. Its international sales are handled by Ginger & Fed.