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Jacques Rivette Frankreich, 1991
It's the Jacques Rivette movie for people who can't stand Jacques Rivette movies — and yet no one else could've made it . . . Perhaps Rivette was being cunning in front-loading his epic (which it is, though perfectly typical on a Rivettian scale) with so much explicitly erotic context. But in its own way this sensual, granular experience is just as pure and obsessive as Rivette's less hospitable masterpieces, and almost as mysterious.
November 24, 2017
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There’s a casual dexterity to the movie’s craftsmanship; its aesthetics strike with a simplicity that belies its complexities as a work of art. Long takes, slow zooms, and deep focus give “La Belle Noiseuse” a sense of disciplined stillness, all the better to record the meticulous efforts of its two chief subjects as they make art out of life.
November 23, 2017
As impeccably shot as its subject deserves, the film is more accessible than most of Rivette's work, with characteristically playful passing nods to the relationship between life and performance.
September 10, 2012
"La Belle Noiseuse" is the best film I have ever seen about the physical creation of art, and about the painful bond between an artist and his muse... The greatness of "La Belle Noiseuse" is in the time it spends on the creation of art, and the creation and destruction of passion.
April 12, 2009
Compared to the loose-limbed Céline et Julie, it feels like a very scripted, composed film, its exquisite camera movements and placement of characters in space heavy with Tarkovsky-like deliberation. Yet this surface pomposity is pinched by Rivettian mischief... [His] films have always underlaid surface realism with intimations of the uncanny.
Mai 1, 2007
The revelations of La Belle Noiseuse are decidedly obvious and small, and rendered nearly insignificant by the ill-fitting actions of the peripheral characters whose petty problems (arising from the actors' own improvisations) offer a less-than-satisfying counterpoint to Frenhoffer's intense and invasive creative process.
November 6, 2006
Rarely have 240 minutes been better spent than in the company of this magisterial study of the agonising process of creation... If the hand of Bernard Dufour provides the on-screen finesse, then Piccoli supplies the artistic passion.
März 30, 2006
The end result of Piccoli and Béart's labor may ultimately elicit shrugs—the title of Balzac's story could refer to a hidden gem, or to a work that some might not know as a masterpiece—but getting there takes extraordinary effort. A cynic might liken the experience to watching paint dry, but the insistent scrape of Piccoli's ink pen and the whoosh of his brushes (both wielded by real figurative artist Bernard Dufour) are alive with creative tension and conflict.
Juli 6, 2004
From the lyrical opening sequence of Nicolas and Marianne's staged seduction, Jacques Rivette uses his distinctive, recurring narrative device of performance within a performance in order to illustrate the film's theme, not only of the social propensity to create insulating (and protective), emotional adaptation through masquerade and façades, but also the revelatory nature of art that results from passion, diligence, focus, sacrifice, and abandonment of fear and inhibition.
Januar 1, 2004
It's four hours, carefully segmented internally into dramatic acts, but also externally, by a break which the film itself announces. Thus, when the model in the film gets giggly from exhaustion, and several times grabs for a cigarette, the film advises patrons in the cinema to take a break as well. La Belle Noiseuse is nothing if not aware of the kind of 'special occasion' contract it has with its audience.
Dezember 1, 1992
Don't make any easy assumptions here, for what is going on is a lot more than a struggle for power between a man and a woman, yet it is certainly that as well... Wonderfully, with [La Belle Noiseuse], Rivette declares that a work of art must be what it is, true to its shape and its form and no other art can quite capture the same thing or describe it. Now that's why we go to movies.
Juni 5, 1992
...The fact that La belle noiseuse is four hours long makes this even more of an achievement--and, incidentally, confirms that in spite of some disapproving guff over the years about Rivette's long running times being overly self-indulgent, his best films, with very few exceptions, are his longest. Duration and process are central to what his movies are about, and the longer they run the more disciplined and purposeful they usually turn out to be.
Januar 31, 1992