Julia Ducournau, known for her bold and often shocking cinematic explorations of the human body and identity, is preparing for her first film adaptation. The news, initially reported by Le Monde and highlighted by EcranLarge, reveals that Ducournau will bring Adèle Yon’s acclaimed novel, Mon vrai nom est Elisabeth (My Real Name is Elisabeth), to the big screen.
The director, who won the prestigious Palme d'Or at Cannes in 2021 for her body horror feature Titane, followed by the mixed critical reception for her 2025 film Alpha, has been busy. In addition to this new film project, she is currently developing a series for A24, where she is serving as both director and writer. However, her return to feature filmmaking with Mon vrai nom est Elisabeth marks a significant shift, as it is her first time adapting existing material rather than working from her own original screenplays.
Adèle Yon’s novel, published in 2025, quickly became a sensation, selling over 282,000 copies and earning accolades such as the Grand Prix des Lectrices Elle for non-fiction and the Prix Essai France Télévisions. Yon herself revealed her choice of Ducournau for the adaptation, expressing immense trust in the director’s unique artistic vision. “I had received many proposals from directors, but I only wanted her,” Yon told Le Monde. “She is a fascinating, feminist, independent… I need to move on to other things, Julia Ducournau will take Elisabeth elsewhere.” This endorsement underscores the profound connection between the author’s work and Ducournau’s established thematic interests.
The novel's synopsis offers a compelling narrative ripe for Ducournau’s interpretation: it follows a researcher grappling with the fear of inheriting madness, who embarks on an investigation into the long-held silence surrounding her great-grandmother, Elisabeth, diagnosed with schizophrenia in the 1950s. The story is pieced together from fragmented family legends and unspoken truths, exploring the haunting legacy of mental illness, physical violence, and the ghosts of the past. The themes of hereditary trauma, identity, and the complex roles of women within a family structure resonate deeply with Ducournau’s previous works.
Indeed, Mon vrai nom est Elisabeth is said to heavily feature the motif of the “female ghost double,” a recurring element in cinematic history, from Alfred Hitchcock’s Rebecca and Brian De Palma’s Obsession to Krzysztof Kieślowski’s The Double Life of Véronique, and a particularly strong presence in the filmography of David Lynch, from Twin Peaks to Mulholland Drive. Ducournau, with her unflinching gaze and ability to craft unsettling yet profoundly human narratives, is exceptionally well-suited to explore these psychological depths and reimagine such a potent cinematic trope.
While no release date has been announced, speculation suggests that the film could target a premiere at the Cannes Film Festival in 2028, potentially marking another significant moment for the director on the Croisette. Fans eagerly await to see how Ducournau will translate Yon’s acclaimed story, promising a film that is both intellectually stimulating and viscerally impactful.
