
The antique clock in the hallway chimed six times, its resonant tones echoing through the quiet house. I knelt on the living room carpet, building a precarious tower of blocks with Lucas, my five-year-old stepson. He giggled, his small hands clumsily placing a wobbly blue block atop the structure.
“Careful, Lucas,” I cautioned, “it’s going to fall!”
He squealed with delight as the tower swayed, then crashed to the ground. But his laughter died abruptly, replaced by a wide-eyed stare directed towards the hallway.
“Mom says you shouldn’t touch her things,” he whispered, his voice barely audible.
A shiver ran down my spine. “What do you mean, sweetie?” I asked, my voice trembling slightly.
He pointed towards the hallway, his eyes fixed on something I couldn’t see. “Mom says she doesn’t like it when you move her picture.”
My heart pounded in my chest. “Lucas,” I said, forcing a smile, “your mom… she’s not here anymore, remember?”
He shook his head, his expression serious. “No, she is. She’s right there.”
I followed his gaze, my eyes scanning the empty hallway. There was nothing there, just the familiar antique furniture and the framed photographs on the wall. Yet, Lucas’s words echoed in my mind, fueling a growing unease that had been plaguing me for weeks.
It had started with a simple whisper, a chilling confession as I tucked him into bed one night. “My real mom still lives here,” he had said, his voice barely a breath.
I had dismissed it as a child’s overactive imagination, a way of coping with the loss of his mother. But then, strange things started happening. Lucas’s toys, meticulously tidied away, would reappear in the middle of the living room floor. Kitchen cabinets, carefully organized, would be found rearranged overnight. And the photograph of Ben’s late wife, Mary, which I had moved to a less prominent spot, kept returning to its original place on the mantelpiece, perfectly dusted.
I had tried to rationalize it, to attribute it to forgetfulness or coincidence. But the incidents grew more frequent, more unsettling. And Ben, my husband, seemed oblivious, or perhaps, deliberately blind to it all.
“Ben,” I had said one evening, my voice trembling, “have you noticed anything… strange happening around the house?”
He had looked at me, his brow furrowed. “Strange? Like what?”
I hesitated, unsure how to articulate the growing sense of unease that had taken root in my heart. “I don’t know… things moving, things changing…”
He had chuckled, dismissing my concerns with a wave of his hand. “You’re just tired, darling. It’s been a stressful few weeks.”
But I wasn’t tired. I was terrified.
Now, as I looked at Lucas, his eyes wide with conviction, I knew I couldn’t ignore it any longer. Something was happening in this house, something I couldn’t explain.
“Lucas,” I said, my voice gentle, “can you tell me more about your mom? What does she look like?”
He tilted his head, his brow furrowed in thought. “She’s very pretty,” he said. “She has long hair, like you. And she wears a white dress.”
My blood ran cold. The description matched the woman in the photograph, the woman whose presence seemed to linger in every corner of this house.
“And what does she say to you?” I asked, my voice barely a whisper.
Lucas looked at me, his eyes filled with a chilling seriousness. “She says she’s not happy,” he whispered. “She says you’re trying to take her place.”
A wave of fear washed over me, so intense it almost brought me to my knees. I looked around the room, the familiar furniture suddenly seeming menacing, the shadows deepening in the corners. I felt a presence, a cold, unseen gaze fixed upon me.
I had married a widower, a man I loved deeply, a man who had welcomed me into his life and his home. But I had also married into a house haunted by the past, a house where the presence of his late wife lingered, a house where I was not welcome.
Catherine Deneuve: The 60s Icon Who Still Stuns the World With Her Timeless Beauty
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!
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