BkDc I thought this movie was excellent, a wildly thrilling movie of temptation and passion, the acting of the main characters was superb. As Marigny is torn between his mistress Vellini and Wife Hermangarde, you can really feel the passions and despair of the heated love between Marigny and Vellini, its such a fantastic movie where the inner turmoil of the characters are communicated well and is a must see for anyone who enjoys such a delicious story. I think the tag line of this movie should have been: Will the crazy tainted furious love triumph or will the pure and innocent love prevail? watch the Une vieille maîtresse to find out!!

Howard Schumann Milan Kundera writes: "Human time does not turn in a circle; it runs ahead in a straight line. That is why man cannot be happy: happiness is the longing for repetition." Case in point, Ryno de Marigny (Fu'ad Ait Aattou), an impoverished but elegantly handsome young man who is trapped between the aristocratic world to which he aspires, and an obsessive bond with a defiantly independent mistress, the boldly seductive Vellini (Asia Argento), an older but dazzling Spanish woman said to be born of an Italian noblewoman and a bullfighter. Adapted from a 19th-century novel Une vieille maîtresse by Jules-Amédée Barbey d'Aurevilly, Catherine Breillat's beautiful and elegant The Last Mistress, challenges the patriarchal assumptions of the age by depicting a 36-year old woman's right to fully express her sexual desires even if it is means flaunting society's conventions and Christian misogynist teachings.Set in Paris in 1835, complete with elaborate period costumes and sumptuously decorated drawing rooms, the film opens with the gossip between two aging aristocrats, the Vicomte de Prony (Michael Lonsdale) and his wife, the Countess d'Artelles (Yolande Moreau about the ten-year affair between de Marigny and Vellini and the young man's impending marriage to the wealthy Hermangarde (Roxane Mesquida). Hermangarde's grandmother La marquise de Flers, excellently played by the 80-year-old French writer Claude Sarrate, is an open-minded and rational individual who claims to be a woman of the 18th century. Worried that Ryno will not be able to get over his passion for his fiery Spanish mistress, de Flers listens attentively as Ryno relates to her the details of his long relationship, an affair that he says has now come to an end, telling her that "You don't betray a new love with an old mistress".In flashback, Ryno relates how he was overcome by Vellini's wild beauty after they were introduced at a party ten years before. Vellini, then married to a wealthy but dull Englishman, reacts negatively, however, when she overhears Ryno call her an ugly mutt and the young man is forced to vigorously pursue her despite her strong objections, forcing her to kiss him while the two are out riding. Her horrified husband witnesses the act and challenges Ryno to a duel the next morning. After deliberately missing his first shot, Ryno is shot in the chest, a wound from which he will take months to recover. The incident, however, triggers Vellini's awareness of her love for Ryno, exotically announced by her sucking the blood from the gaping hole in his chest.De Flers presses Ryno for the details of their life together during the past ten years but the dramatic story is better left for the viewer to discover. When the film returns to present time, de Marigny and Hermangarde are married and ostensibly in love, yet he struggles to keep his word to her grandmother by moving away from the temptations of Paris to a remote seacoast. The cigar-smoking temptress, however, also loves the fresh sea air and the stage is set for the film's final act. The Last Mistress is an outstanding work of art that is strengthened immeasurably by striking performances by Asia Argento and first-time actor Fu'ad Ait Aattou. Argento fully captures Vellini's sexual assertiveness but tempers her incendiary disposition with naturalism and a tenderness that makes us care about her fate.Aattou, discovered by Breillat in a crowded café, is almost feminine in appearance with overly thick lips and sensitive eyes, yet he brings a masculine determination to the role that makes him completely convincing. Like the recent film by Jacques Rivette, The Duchess of Langeais, in The Last Mistress love becomes a contest of wills, a power struggle between two people whose relationship consists of a tug of war not only between domination and submission but between 18th and 19th century social codes. That Breillat makes the ride so entrancing is a tribute to her enormous talent.

richard-1787 I saw this movie this afternoon, and though at the end my watch assured me that it was less than 2 hours long, I had the impression I had sat through a verbatim reading of the entire 459 page novel. Endless dialogues in very literary French with the characters sitting down, filmed by a director who has no idea how to film dialogue, especially literary dialogue. The costumes were nice and so were the sets, but it reminded me of a very bad Masterpiece Theater episode.And it's a shame, because there was the makings here for a good movie (with another director). Most of the actors and actresses looked their parts, with the annoying exception of the male lead, who looked convincing at 20 but way too boyish - or girlish - for 30. The novel is interesting. (Though the premise is obvious and doesn't sustain almost 500 pages. The novel would be better known if it were a lot shorter.) A much better script could have been the basis for a good movie. (The script was evidently by the director.) And then there were the annoying small mistakes. Why, in the middle of a movie that sticks close to its historical period, c. 1835, do the characters do a rendition of a German popular song from the 1920s that sounds very 1920s? Why, at the opening of the movie, is the date 1835 given with the tag "the period of Choderlos de Laclos"? Laclos died in 1805 and his one remembered work, Les Liaisons dangereuses, dates from 1782. This story so very clearly dates from the Restoration and right after it, the period Balzac, Barbey's real contemporary, described so well in Eugénie Grandet, with its aristocracy moving ever further to a moral and sexual right wing - as we see in poor Ermangarde, who is afraid to enjoy sex.As I said, the acting here was fine, the sets and costumes ditto. But the dialogue was leaden as was the direction, and I found the male lead annoying.A major disappointment.

pragers We just came back from Paris and wanted to get an impression of Paris' society in the 18 hundreds when we decided to watch this movie. Actually, we were quite excited since we did not know the director nor any of her former movies. We waited for the story to unfold and draw us into the atmosphere - but the story, the actors, the script were so predictable and stilted. Even the 'erotic' scenes were anything but erotic. At some points the people in the movie theater started to laugh and we got terribly bored. I always saw the actors acting which destroys the whole magic of a movie. I don't think that this movie has anything to do with the great tradition of French movie making. Close shots, love for details, the good looks of the leading male actor, and beautiful costumes don't make a good movie.