Marie has a secret from the occupation. In post-war Denmark, that could mean a shaved head and a swastika painted on your skin. The film never says what went on between her and the German soldier, and a mob with clippers wouldn’t wait to ask.
She’s engaged to Christian, her employer. That makes her too grand for the other servants, apparently, though he still treats her like the help. Some promotion.
Then there’s the wedding dress. Christian has cleared away nearly every trace of his first wife, apart from her wedding gown, which he’s had altered for Marie. Romance is alive and well. The little girl in Marie’s care can’t quite make her mind up either, clinging to her one minute and guarding her mother’s place the next.
Mathilde Arcel is terrific, and her silences left me doing half the detective work. May el-Toukhy reveals just enough, shooting the grand house so handsomely that its good manners feel sinister.
Everyone else has decided who Marie should be. Nobody thought to ask her.