Freelance photographer Servais meets luckless Nadine Chevalier, a would-be movie star who has only found work in cheap exploitation movies. Trying to win her affection, Servais borrows money from his underworld employers to launch a theatrical production for her to star in.
This film is not currently playing on MUBI but 30 other great films are. See what's now showing
apasionada, violenta, perversa y extraña, con unos personajes que se esfuerzan por ser irreales y que en su absurdo representan una autenticidad mas profunda, increible pelicula con tendencias del cine de fassbinder
I can see why this is Romy Schneider's favorite work she has been in. It really allows her to play a wide variety of emotions. And for Zulawski, what does the craziest director do? He hires the craziest actor, Klaus Kinski. It's a bit of an assault on the senses.
Zulawski's sweetest love story. Kinski swoops in, chews all the scenery and spits it up, providing the only Zulawksian grotesque in the whole movie. La Femme Publique goes father in exposing the perversity & exploitation of photography/cinema, actresses & directors. As Polish expat, Zulawski seems in love with French things--cafe, la theatre, menage a trois--at times, the film tries too hard to be capital F French.
At the eyes of Andrzej Zulawski, love may be the most evil, hurting, sickest, cruelest act of posession, everybody acts insane in his films, because no one lies, they all show their true self without hesitating. But in this demented and violent world, love can only be born out of pity, and the only way to attain grief is suffering, both psychologically and phisically, crawling in our own blood.
Hamfisted attempt from a Polish director to look French. Everything here is copy-pasted from other movies (most notably 'Le mépris'), and the fact that the male lead is a wooden dummy doesn't help much. Zulawski's weakest by far.
"Don't build a monument to pity." - Servais. Żuławski expertly combines wandering but tight shots to capture even the most minute reactions from his leads as they traverse the underworld physically and emotionally, figuatively and literally. It's a rare film that can marry high and low brow to yield such a crackling experience. Żuławski may have felt the important thing is to love, but if that's how it is, I'll pass.