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The Last Mistress (2008)
Rated: 15
Runtime: 1 hr 54 mins
Theatrical Release: 11-04-2008
Synopsis: Controversial director Catherine Breillat (ROMANCE, FAT GIRL) delivers her most ambitious film yet with THE LAST MISTRESS. Adapted from the novel by Jules Barbey d'Aurevilly, the film is set in 19th-century France, when the world was a seemingly much more innocent place. Underneath the... Controversial director Catherine Breillat (ROMANCE, FAT GIRL) delivers her most ambitious film yet with THE LAST MISTRESS. Adapted from the novel by Jules Barbey d'Aurevilly, the film is set in 19th-century France, when the world was a seemingly much more innocent place. Underneath the surface, however, lurk infidelities and other dark secrets. Ryno de Marigny (Fu'ad Ait Aattou) is about to marry the beautiful and sweet Hermangarde (Roxane Mesquida). He is so devoted to her that he has decided to make a clean break from his ongoing affair with the tempestuous Vellini (Asia Argento). One day, Hermangarde's grandmother, the Comtesse d'Artelles (Yolande Moreau), convinces Ryno to tell of his affair with Vellini, which he does. By the end of his story, even she is concerned that he is in too deep with Vellini and that the couple's torrid romance will continue. Nonetheless, Ryno and Hermangarde get married, but Vellini's lure proves too strong a temptation. Breillat's biggest production to date also feels like one of her most personal. While the film has a sedate façade, it is in keeping with the graphic work of her previous films. Argento is a perfect Vellini, at once carnal and terrifying but also sensual and alluring. The striking Ait Aattou, who makes his first screen appears, confirms Breillat's gift of getting the most out of non-actors. THE LAST MISTRESS is a lush period piece that nonetheless has a universal, modern message, and it makes many daring statements about love, lust, and romance. [More]
Genre: Foreign Films
Starring: Asia Argento, Fu'ad Ait Aattou, Roxane Mesquida, Claude Sarraute, Yolande Moreau
Reviews
As the liaisons grow more dangerous, Breillat masterfully exposes seething undercurrents of jealousy and desire.
Like all Breillat's films it's obsessed with sex, power and gender, its protagonists reduced to tragedy as they desperately wield their weapons of seduction.
Visually, the film is an uninteresting as the similarly dour Don’t Touch the Axe, and now Breillat’s health is failing it may be time she hung-up her viewfinder.
Swiftly and deftly immersing us in the fashions – not just the clothes and decor, but also the changing sexual and social ethics – of the 1830s, Breillat’s meticulous, eloquent script and direction succeed in relating a consistently engrossing story.
even as this odd couple cuts its destructive path through the social order in a story that is essentially a tragedy, they come across as idealised revolutionaries rather than deluded victims of love.
Cool, carnal, and lethal, The Last Mistress is a period drama with a difference.
There's a brittle pomp and circumstance to The Last Mistress, which suddenly turns into a sensual witch's dance, once star Asia Argento is let loose about a third of the way into the film.
Despite an austere budget and some minor anachronisms, The Last Mistress proves that Breillat has found something in the luscious language of the 19th century that makes sense to us today.
The cynicism and fire of the film all emerges from the heat of Asia Argento. In giving a truly fearless performance as the title character, she uses her body and audacity to tweak the upper-class society that can't take their eyes off her.
Asia Argento, as Vellini, is a firebrand, a woman who is attractive even in non-seductive moments when she is angry or downcast or 'off-stage.'
Aattou plays his role with the supreme self-confidence of a man in control, his deep blue eyes radiating calm, but Argento seems to know better. She is a wild, physical force, a primal fury who could only be resisted if she were to allow it.
[Breillat's] latest and possibly most entertaining exercise in erotica.
The Last Mistress is grindingly predictable, its view of sex as hand-to-hand combat (the lovers here assault each other like Sumo wrestlers) is often unintentionally funny and the casting is all wrong.
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