Every day, a personality invites itself into the world of Élodie Suigo. Tuesday March 17, 2026, actress Ana Girardot. She plays in the film “The Price War”, in cinemas from Wednesday.
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As the saying goes, dogs don’t make cats and Ana Girardot has indeed decided to embrace the profession of actress, like her parents, Hippolyte Girardot and Isabelle Otero. She also has many of her maternal grandparents who were painters, with the desire to create their own canvas and their own painting. She started in theater in New York, where she took classes, before being spotted in the film Simon Werner has disappeared by Fabrice Gobert and then, in the series by the same director, The Returned. From Wednesday March 18, 2026, she is showing in the film The Price War by Anthony Déchaux, where she plays the role of Audrey, head of the organic department in a hypermarket, then hired at the purchasing center of her brand. She will discover a world without faith or law. She tries to preserve as much as possible those who try to survive by cultivating the land and raising animals. The title says a lot about what happens outside the aisles we browse in our supermarkets or stores we frequent.
franceinfo: When we look more closely and more closely at this word war, we realize that we are not fighting fairly enough to destroy this word, even though we are ultimately part of the game that is played outside the shelves.
Ana Girardot: Somewhere, we are responsible. The film talks about that anyway, because it is a film which mainly talks about a system that we have accepted and a system which is not there, in any case to ensure the promotion of the farmers who are the ones who feed us and who try to do it well. This is what I also discovered when I discovered Anthony’s scenario, which opened my eyes a little to a system that I imagined somewhere, but which I had never been confronted with. The agricultural sector is an extremely difficult environment, but one that never stops. Something that I hadn’t even been able to conceive of, having always been raised with the week coming, the weekend coming with vacations. It’s a long-term job and to see that on the other side, where we are supposed to promote this work, in fact we are crushing it. There is something extremely unfair, but which I did not know and which Anthony did not romanticize, but he opens the doors to us through cinema, to a world that we do not know.
There is a figure that came out in December 2025, 300 farmers commit suicide per year. When the film ends, we need to find ourselves again and that’s when we see the power of a film. Did you understand that this film was going to have an impact?
It marked us all. I understand that we need moments and I understand it all the more since I have been crossing France for three weeks now with Anthony Déchaux to meet spectators and show them the films in preview. Particularly in regions like Brittany, where there are a lot of farmers, farming families or spectators who themselves have people in their entourage who are affected by this. We arrive at the end of the film and then we applaud, we don’t let the credits roll and then we are there, we come out of a dinner with the exhibitor and we are happy to sell the film.
“I realize that it takes ten minutes for the spectators too to come down a little from this story.”
Ana Girardotat franceinfo
It’s all the more touching all of a sudden, when a film has this aura that manages to really touch people in a concrete way. Afterwards, what they want to say based on the film, what they saw, the details. There is a detail between Olivier Gourmet and a little boy, a look that touched a lot of spectators and it’s a small thing. It really touched Anthony Déchaux, because it was something that touched him, but he said to himself that it was so small that he wondered who was going to see it.
Since you started in this acting profession, you have always chosen films that resembled you. There, it does not become a political act, but it becomes an act of commitment to choose a film that tells a story, that represents those who cannot raise their voices. Is this how you build your career?
No, that’s not how I’m building my career, but I’m very happy that it could lead to that, if it does. I have always wanted to have characters who are not similar and that is the joy of the actor. For five years, I have written, I have directed, I have opened a production company and I think that being much more curious about others and more curious about their journey has allowed me to free myself and do things that are more courageous, more combative, more militant, more committed.
Is this the role of mother too?
I think it’s the role of mother that encourages and changes things a lot. I did a project four or five years ago with 13 actresses. We were at 5 a.m. for makeup and they are all moms.
I said to myself, we can do this, we can be an actress and a mother and be strong.
Ana Girardotat franceinfo
It helped me a lot afterwards, and it’s true that it gave me strength because it gave me responsibility.
What we understand through this film is how very solid the installations are. To stay in the race, it requires injecting more money. This is also how the film ends, with this spine-chilling sentence, “In the end, it’s always about the money” and it would have to be something other than a story of money.
It should not be a question of money.
