Vénus beauté (institut)

VENUS BEAUTY features France's fabulous Nathalie Baye, entering middle-age, as is her character (Angle) in this dramatic comedy. The Venus Beauty Salon is the location for this interesting personality study, not only of Ms. Bayes' character, but also of the personalities of her clients, admirers and co-workers. The film functions very well as a French modern slice-of-life study, across age, income, gender and social groups. Angle's pain in dealing with her sex and emotional life is very well depicted. Ms. Baye is aided by an excellent supporting cast including Samuel Le Bihan as her love interest. Le Bihan has been named France's "most promising young actor", and shows us why here. The movie really draws us into the lives of those who inhabit or pass through the Venus Beauty Institute, a microcosm of Parisian life in the 90's.

This movie has some fine acting. It is driven by character rather than plot. Nathalie Baye, as Angèle, plays a 40ish beautician in Paris. She has had a traumatic childhood and has been burned in love so she limits herself to one-night stands where she is in the driver's seat. Then a man obsessively falls for her and she has to decide whether to open up to love, or at least the possibility of it. This does not play out quite the way it would if this were a Hollywood high concept movie.

There are many minor characters, affectionately drawn. Some pieces of Angèle's past never quite get explained or resolved, which some people might complain about, but, hey, life is a lot like that.

This film is set in Paris, right before and right after Christmas. (I also saw "La Buche" at the same theater, also set in Paris at Christmas, also very good)

The jazzy score is particularly nice.

This is not exactly an upbeat Christmas movie, but it's well worth seeing.

In Paris, Angèle (Nathalie Baye) is a beautician working in the beauty parlor 'Venus Beauty Institute', owned by Natalie (Bulle Ogier). Her colleagues are Samantha (Mathilde Seigner) and Marie (Audrey Tautou) and they have a good relationship in the salon. Angèle has an emotional problem with men and she does not believe in love anymore. Her affairs happen by chance with strangers and she seems to have the gift of choosing wrong guys for one night stand. Angèle meets Antoine (Samuel Le Bihan), a sculptor who has a crush with her, but the bitter and heartbroken Angèle has problems to believe on his love. I liked this romance about a heartbroken middle age woman finding love again. First, because of the great performance of the beautiful Nathalie Baye, who was fifty-one years old in 1999. The gorgeous Audrey 'Amélie Poulain' Tautou and Mathilde Seigner are collyrium for the eyes of the male viewers, being another attraction. The story has some ups and downs, with some shallow situations, like the exhibitionist client who walks naked in the beauty shop, but the balance is very positive. The story ends like a fairy tale and is enjoyable. My vote is seven.

Title (Brazil): 'Instituto de Beleza Venus' ('Venus Beauty Institute')

Venus Beauté Institut is clearly one of the best films of the year in France, and not due to the fact it won the César as best film; it truly is a good film, contrary to what many people think. For starters the film has an excellent screenplay, and everything fits in quite nicely. It was very well directed by Tonie Marshall, in a simple, efficient and clear way (if you're looking for flashy directing look elsewhere). The story is also quite simple, but anyone (including men) can relate to it, for it deals with the most common human emotions: love, loneliness, friendship, sorrow, and happiness; and what's truly inspiring is the simple and humorous way these emotions have been conveyed. As for the acting, I can only say one thing: what an incredible cast. Nathalie Baye was superb as the lonely Angèle, and the entire supporting cast is excellent: the socialite and oppressive Madame Nadine (Bulle Ogier), the sweet and naive Marie (Audrey Tautou), the troubled Samanthe (Mathilde Seigner), and the breathtaking Madame Buisse (Claire Nadeau). Also, this is not the typical art house French film that many people detest, it is a very simple human statement, wonderfully taken to the screen.

I recommend it.

A parade of interesting characters walk through this beauty parlor usually convinced that all that matters is the external self. While the workers service their customer's outside's, the workers go about dealing with their inner feelings and emotions.

Which is more important? When the camera is in the "institute", things are pink and alive, but superficial. When the camera is outside, thing get much more dreary, but more emotionally satisfying.

May be both things count equally.