A faithful adaptation of Dorothy Bussy's autobiographical novel, ‘Olivia’ is the story of an English girl sent to finishing school in France towards the end of the 19th century. On arrival she finds the school divided between those who support one headmistress, Mlle Julie, and those who follow her partner, Mlle Clara. With little hesitation Olivia falls deeply for the former and the film's focus shifts to place the powerful Mlle Julie at its centre. What develops is a drama of desire and divided loyalties, of love and restraint, filmed from a perspective that is open to all the women involved. 

In Jacqueline Audry's hands ‘Olivia’ becomes an overpoweringly erotic piece of work. Warmly intimate lighting bathes sets which are opulent without vulgarity and which provide the perfect background for the subtle and very potent ardour of Julie and Olivia.

– Alison Hennegan, Gay News

The film explores the many facets of women's love for one another… however it is the bond between Julie and Olivia which demands our attention. All the more for the exquisite performance given by Edwige Feuillère as Julie. On one level I find the film tragic. However in the end it does not evoke my sadness, rather my anger. At the end Julie claims control over her passion and desire as a victory, albeit a hollow one: ‘It has been a struggle all my life but I have always been victorious. I was proud of my victory... I wonder now whether defeat wouldn't have been better for all of us, as well as sweeter.’ Is the expression of love the expression of defeat? The film begs the·question-why did she make that choice? And it is its exploration of Julie's choosing to inhibit her desire for Olivia that makes it such an important film for and about women. 

– Hilary Dunn, Spare Rib 

Description source: Circles Catalogue (circa 1983). Compiled by Helen MacKintosh and Margaret Gillan. Edited by Felicity Sparrow.