Olivia is about love and politics. When an English girl named Olivia arrives at a boarding school on the outskirts of Paris, female-led narratives unfold amid a pastoral landscape, decorative sets, and costumes. During the time of social transition, when the right to vote was given to French women in 1944, there were few female filmmakers. Jacqueline Audry made a commercial success with a film based on her sister Colette Audry. Jacqueline’s fifth film, Olivia, titled from the original author Dorothy Strachey’s pen name, is about women, written by a woman, adapted by a woman, and directed by a woman. Girls in the film create their own world, perfect without paternal discipline or maternal rule. They learn their own refinement, knowledge, and emotion of love by studying literature and writing. The film has a spiral staircase that looks precarious among secretive nights and days in an ominous and overwhelming dormitory under the vital and soft surface like silk canopy and dessert cream. The film has few men, and even when they appear, they are left in an abstract area like shadows. In a world of women, there is no moral judgment in physical and mental contact in sensitive romance. Girls are not described sexually or voyeuristically. [A, HAEPARI]