Argento seizes each scene with both hands, adding surprising layers of feeling as she goes.
The Last Mistress (2008)
Tomatometer
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Reviews Counted:21
Fresh:19
Rotten:2
Average Rating:7.6/10
Consensus: More complicated than your average bodice ripper, Catherine Breillat's Last Mistress features beautiful costumes, wrought romances, and a feral performance from Argento.
Theatrical Release:Jun 27, 2008 Limited
Box Office: $621,567
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... 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]
Starring: Asia Argento, Fu'ad Ait Aattou, Roxane Mesquida, Claude Sarraute
Starring: Asia Argento, Fu'ad Ait Aattou, Roxane Mesquida, Claude Sarraute, Yolande Moreau, Michael Lonsdale
Director: Catherine Breillat
Director: Catherine Breillat
Screenwriter: Catherine Breillat
Producer: Jean-François Lepetit
Studio: IFC Films
Reviews for The Last Mistress
[An] entertaining, elegantly shot adaptation of Jules Barbey d'Aurevilly's 19th century novel.
It's characteristic of the virtues and limitations of French sexual provocateur Catherine Breillat...that they usually derive from the same source--the fearless determination to skirt the borders of camp.
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.
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.'
[Breillat] is inviting us to really look at sex as it occurs in life, and to engage with it mentally, as a driving mystery of human existence.
The sex, like almost everything else in The Last Mistress, is mechanical.
It is Claude Sarraute's performance that I love most of all in the film. I can easily imagine spending the night in the salon of this old lady, and telling her everything she wants to hear.
Lush. Debauched. Ravishing. And did I mention sexy? The Last Mistress, from French controversialist Catherine Breillat, is Dangerous Liaisons, uncorseted and undressed.
Ms. Breillat has forgone the anarchic force of her earlier forays into the still relatively underdeveloped realm of female sexuality. As a pioneer of sorts in her field, she has earned this temporary respite of classicism represented by The Last Mistress.
The sumptuous costumes and florid dialogue in The Last Mistress represent early-19th-century French custom at its most curlicued, but the power of one woman's molten sexuality is timeless in Catherine Breillat's rich drama.
As gorgeous-looking as the picture is, you could never accuse Breillat of anything so banal as good taste.
Though Argento and Aattou lack the searing chemistry needed, the social politics are consistently intriguing, and everything -- not to mention everyone -looks absolutely stunning.
In The Last Mistress, the director Catherine Breillat’s explorations of desire are so far from the antiseptic world of most screen depictions as to seem far out.
Latest News for The Last Mistress
May 25, 2008:
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