🇫🇷 Lou Deleuze

Lou Deleuze was born on 23 March 2014 in the Île-de-France region. She works as both a singer and a child actress and has been professionally active since 2022. The European Broadcasting Union, in its own profile, describes her growing up in a household where music was everywhere and developing an interest in songs very early; her acting is presented as a parallel passion rather than a competing career. Her father worked as a luthier — a maker of stringed instruments — which places musical craft in the house before she could read.

Her screen career began at seven, with the 2022 French film Le Parfum vert. Her credits since include the short films Poupée, Une nuit, Les Dents du bonheur and Louna, the 2024 feature Maldoror and the 2025 film Le Rendez-vous de l'été, alongside television work including Paris Police 1905 and the series Léo Mattéi, Brigade des mineurs. In 2023 she won Best Actress at the 21st Unifrance Short Film Awards for Les Dents du bonheur — an adult professional prize, awarded to a nine-year-old.

As a singer she assembled a catalogue from 2023 onwards: covers of Stromae's "Papaoutai" and of Mylène Farmer's "Désenchantée" and "Rêver", alongside original singles "Donne-moi ton amour", "Jeux d'enfants", "Allo la Terre" and, in 2025, "Ne les écoute pas". She reached a national French audience through the nineteenth season of La France a un incroyable talent, the French edition of Got Talent, in 2024, where her Mylène Farmer performance at the age of ten drew wide attention. The EBU cites that appearance as the moment she made a large impact.

She had tried for Junior Eurovision before. In 2024 she auditioned to represent France at the contest in Madrid and was not selected — a detail worth keeping in view, because the winning margin she later produced tends to obscure it. On 29 September 2025 France Télévisions announced her as the French entrant for the twenty-third Junior Eurovision Song Contest in Tbilisi, Georgia, with the song "Ce monde" ("This World"), released the same day and written by John Claes, Jonathan Thyssens and Linh.

The contest was staged by the Georgian Public Broadcaster on Saturday 13 December 2025, live from the Gymnastics Hall of Olympic City in Tbilisi. Eighteen EBU member broadcasters competed — Croatia, Montenegro and Azerbaijan returning after several years away — with fifty-one young performers in total on a sixty-metre stage in front of an audience of 2,500. Scoring was split evenly between professional juries, each composed of three music-industry experts and two children aged between ten and fifteen, and a global online public vote.

Lou won with 248 points at the end of a 135-minute show. Sofia Nersesian of Ukraine finished second with 177 points for "Motanka"; Georgia's Anita Abgariani was third with 176 for "Shine Like A Star". The 71-point margin was the largest in the contest's history, and the 248-point total the second-highest ever recorded, behind Poland's 2019 entry. Viewers in the eighteen participating countries and 170 further nations cast 2.5 million votes, two hundred thousand more than in 2024.

The win gave France a fourth Junior Eurovision title, after 2020, 2022 and 2023, making the country joint record holder with Georgia. She received the glass microphone trophy and then performed "Ce monde" again, visibly emotional, surrounded by the seventeen other competing artists. Unlike the senior contest, Junior Eurovision winners do not automatically host the following year; the EBU later confirmed Malta as the 2026 host, with sixteen broadcasters entered and Alec Burette representing France.

Junior Eurovision is one of the very few youth music results that is genuinely audited: run by the European Broadcasting Union, scored by named juries and a public poll of 2.5 million votes, dated to the day. That is the reason it belongs in a serious index of early achievement, and the reason the margin is quotable. A first-person quotation from Lou has been deliberately omitted from this page: the lines that circulate in aggregated coverage could not be traced to a primary source, and this index does not publish a quotation it cannot attribute.

Junior Eurovision sits in an unusual place among youth competitions. It is not a talent show with a producer's edit and it is not a conservatory jury: it is run by the European Broadcasting Union, the association of Europe's public-service broadcasters, and its result is assembled from two independently reported halves — professional juries in each participating country and a worldwide online vote open for a fixed window. Because the two halves are published separately and the totals are announced live, the outcome is auditable in a way that most youth music honours simply are not. The age band, nine to fourteen, is enforced by broadcaster verification rather than self-declaration.

That structure is what makes the 2025 numbers quotable rather than promotional. A 71-point winning margin across eighteen delegations and 2.5 million public votes is not a stylistic judgement; it is a distribution. France's four titles — 2020, 2022, 2023 and 2025 — put it level with Georgia at the top of the all-time table, and the pattern says something about the French selection process as much as about any individual singer. Lou Deleuze's own path through that process, rejected in 2024 and selected in 2025, is the clearest evidence available that the audition is a real filter and not a formality.