Venus in Fur

El Biffo

Lately, Polanski is directing theater and calling it cinema. This must really cut down on the budget. And he only had to pay 2 actors for this film. CARNAGE was also a stage play, the whole thing filmed in one room. On these budgets, these films have gotta make $$$! This one is a really fun perverted psycho-romp, it almost feels like Amalric is playing the role of Polanski in THE TENANT, slowly losing his grip...

LauraPalmer

this is what happens when you LITERALLY make a film ONLY with a brilliant script (and a giant cactus). this is what happens when you decide to show our hidden perversions. this is what happens when you end your film with a perfect final scene. yes, this is basically FILMMAKING.

msmichel

Another theatrical exercise from Polanski that is far less successful than his adaptation of 'God of Carnage'. One can't fault the performances for Amalric and especially Seigner are quite brilliant here in this perverse twoplay. It's the script that falters with the actions becoming more unbelievable and convenient for story as the film goes on. Well shot and never boring just not up to the pedigree of the canon.

Pierluigi Puccini

David Ives' stage play seems tailor made for Roman Polanski. Claustrophobia, erotic tension, role games, submission and offbeat idiosyncratic humor, in tone with his early films like Knife in water and cul-de-sac, minus their uniqueness.

analeorne

Proving once again that Polanski is one of the most brilliant directors alive. With two (astonishing) actors and a rather simple set, he messes with your mind for an hour and a half by changing the Masoch paradigm multiple times. One of the best movies I've seen lately.

João Eça

Jesus, Polanski, you made "Rosemary's Baby" and "Chinatown"!!! Have you forgotten how to make a picture?

Duncan Gray

Master/slave, muse/artist, actor/director. A two-hander about a writer forced to own up to the most perverse parts of his work and admit that the fantasies are his. That it comes from Polanski adds a bit of a queasy subtext. It's not really a departure for him; this kind of theater-of-the-absurd was always a big part of his work, and this is his best film since The Pianist.

Daniella

What a wonderful script! So good to see the old Polanski back. It reminded me of the sensuousness and domination games the characters played in Knife in the Water and Cul de Sac. A cinematic treat!