
Set in 1900, Lili d’Alengy, a celebrated Parisian courtesan, flees the city to shield her developmentally‑challenged daughter from scandal. In the countryside she encounters Maria Montessori, whose innovative educational method offers a promising way to support the child's growth.
Does Maria Montessori have end credit scenes?
No!
Maria Montessori does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of Maria Montessori, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Sébastien Pouderoux
Jean Itard

Leïla Bekhti
Lili d’Alengy

Pietro Ragusa
Le prince

Roberto Zibetti
Le journaliste

Agathe Bonitzer
Clarisse

Jasmine Trinca
Maria Montessori

Gianfranco Poddighe
Guido Baccelli

Raffaele Esposito
Giuseppe Ferruccio Montesano

Stefano Abbati
Cesare Lombroso

Patrizia La Fonte
Renilde Montessori

Renato Sarti
Alessandro Montessori

Luciana Castellucci
Mme Montesano

Nancy Huston
Betsy

Giacomo Fadda
Conseil Scientifique

Laura Borelli
Carlotta

Rafaëlle Sonneville-Caby
Tina d'Alengy

Raffaella Ducrey Giordano
Anna

Georgia Ives
Giorgia

Daniela Macaluso
Sarta

Irina Valvilova
La russe chez Betsy

Emily Di Ronza
Une étudiante

Claudio Giova
Conseil Scientifique

Enrico Basile
Conseil Scientifique
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What profession does Lili d'Alengy have at the beginning of the film?
Read the complete plot summary of Maria Montessori, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
The courtesan Lili d’Alengy is at the height of her fame as the 20th century begins, living a life of glamour in Paris while hiding a private burden. After her mother’s death, she assumes responsibility for Tina, her disabled daughter, and she faces a painful dilemma: preserve her reputation by presenting Tina as her niece, or let the truth damage her carefully crafted image. To shield Tina and herself from scandal, she packs her life and moves to Rome, where the atmosphere is different and the stakes of public perception are equally high.
In Rome, Maria Montessori and her partner Giuseppe Montesano run a small, progressive project—a “Pedagogical Institute” for disabled children. Montessori has dedicated herself to a method that helps children with learning difficulties, and she believes deeply in the power of patient, attentive care. Tina becomes a test case for this approach, and Lili—keen to protect her own status—finds herself torn between keeping Tina close and letting her find new ways to grow. For Tina, the new environment offers a real possibility of progress, an opportunity that is reinforced by the gentle rhythms of contact with other children and the uplifting effects of music.
Maria’s world, however, is not easily accepted by the medical establishment of the time. Although the doctors are slow to embrace her ideas, she pushes for validation and funding, convinced that her method can change how society educates and understands children with difficulties. The tension between tradition and innovation plays out against the backdrop of limited resources, social expectations, and personal loyalties. Lili observes how crucial attention, patience, and love are in fostering Tina’s development, and she gradually recognizes that these qualities—once simply personal virtues—can become a guiding pedagogy in their own right.
As circumstances evolve, a rift grows between Lili and Giuseppe. He fears the impact on his own reputation and reveals that he is about to marry another woman, a revelation that could separate Maria from her son Mario. Yet Lili stands by Maria, supporting her both emotionally and practically as she asserts herself in the male-dominated arena of science. This partnership—built on trust, mutual respect, and a shared commitment to the children—begins to redefine how they see themselves and their work.
Together with Betsy and the others who join their circle, Maria finds the confidence she needs to navigate a world that has long rewarded male authority over female intellect. The network they forge becomes more than a support system; it becomes a new kind of pedagogy—one rooted in the love of children and the belief in the independence of their minds. Through their collaboration, Tina’s progress becomes a testament to the power of patient care, imaginative teaching, and the courage to pursue a different path in education.
By the end, the story honors the idea that real advancement comes from listening to children, respecting their voices, and building communities that nurture both their hearts and their minds. It is a portrait of resilience, creativity, and the quiet rebellion that can change the course of pedagogy when love and science walk hand in hand.

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