Metacritic-Rezensionen

Here Breillat directs one of the most thrilling actresses working today, and the latter makes this calculated study into a tale brimming with passion and sorrow.

A highly entertaining adaptation of French dandy Jules-Amédée Barbey d'Aurevilly's mid-19th-century novel Une vieille maîtresse.

What’s explicit here is ravenous passion and the depiction of desire as a creating, destroying force that invades the very flesh. It's terribly French.

This explicit movie about a sexually insatiable 19th century courtesan emerges like an erotic dream.

Beautifully composed, The Last Mistress, Breillat's 11th film, deals with the theme she has put forth in such previous work as "Romance" and "Fat Girl": how women deal with sexual desire.

Given their reputations as feminist provocateurs, the coming together of Breillat and Argento seems natural, even inevitable, and The Last Mistress gets a charge from their feisty, uncompromising spirit.

Decorous to a fault, in the manner of middling Eric Rohmer talkfests, it's a film that could use some shaking up.

Adapting a book by semi-notorious novelist and critic Jules Barbey d'Aurevilly (1808-89), Breillat freely stamps her strong and singular feminine insights on a man's material.

Breillat may be serious about creating period ambience, but she also can't resist patterning her heroine after Marlene Dietrich's Concha in "The Devil Is a Woman" (even though Argento sometimes suggests Maria Montez in the pleasure she takes in her own company).

Though Argento and Aattou lack the searing chemistry needed, the social politics are consistently intriguing, and everything - not to mention everyone -looks absolutely stunning.