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Roman Polanski's latest film, "La Vénus à la Fourrure" or "Venus in Fur" is based on the eponymous play by David Ives'i, which, in turn draws inspiration from Leopold von Sacher-Masoch's novel "Venus in Furs". Sacher-Masoch Just name has been the concept of masochism as a phenomenon present in many works of the writer, and as you can imagine, such a peculiar subject matter allows Polanski back to deal with many of the favorite themes such as sexuality, a perversion, lust, etc. Polanski has always seemed logical to film action takes place entirely cocoon, so to speak, so it is advantageous for him that this kind of provocative futile story of a theater company originally intended to play. It has become such a paranoid and klaustrofoobilise design space in which the author himself, he always has felt comfortable ("Repulsion"). The film two characters - an erudite playwright Thomas (Mathieu Amalric), and a potential candidate for his latest play naispeaossa (Emmanuelle Seigner) - keep each of you in this room, manipulative closed. As time goes by, the more it will gradually more and more improvisational stage variable sample (and more specifically, futile Thomas) to maintain control over Seigner'i Vanda, who seem utterly extreme styles as part of the acquisition. Vanda seems beginning of the film still an innocent damsel futile who desire futile a theater piece, part of the play, but even then, if he makes it to your liking stage lighting futile without having to Thomas futile as a director on to succeed him to stop, begins to hit home, holding the reins (albeit increasingly kohmetumaks variable Thomas ask him to change his position on the stage at certain times, etc.). The question is coming, how far this evening, the actress wants to be and what he wants, in fact playwright. In the process, we can wonder whether we see the characters hilpe exchanging or even taking off, play into the emerging new scenes, exciting dolls seem to appear out of nowhere. And the temperature rises slowly in the theater futile of old-fashioned appearance.
Vanda, who is a very fearless embodies Polanski's wife Emmanuelle Seigner, passes through futile the film during the exciting transformation, futile becoming a bit clumsy city girl impetuous fury, while Thomas is not falling and not just a fragile groin, but can also have their own ambitious creative victim, which he has not managed to Vanda arrives without knowing full course. It is frightening that when a man begins to fall victim to a black widow moonduva Vanda, he thereby loses control over its own play, even if his mind is still understood its meaning. Now, I would assume, signifying thoughts on original material futile intrigeerivust I actually find it and taking into account that the film is perhaps not as much tension as it could be, even though the roles are doing everything in its power to ensure this. Yet it is stimulating. Playful and fun piece of what I would call a very personal - as mentioned, is Seigner Polanski's wife and young Polanski Almaric quite similar; I would not be surprised at all if that filmmaking was Polanski way to discover how the dominant nature of the woman's arrival of his life and is influenced by his self-confidence futile and the trend of an artist (at one point, by the way, what fuels Vanda Thomas, futile in his play complementary to, and thus male character from a new angle to see) . Or maybe I'm wrong.
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