HOW does this have any good reviews? this movie had absolutely no business being 4 hours long & that old man had absolutely no need for a model; I could've made chicken scratch like that with my eyes closed.

One-dimensional portrayal of jealousy expressed by supposed adults with a mental capacity of kindergarten inhabitants, whose entire years-long relationships ostensibly crumble at a foundation in a span of hours because, my dears, art is a window into the soul, and to capture that window we need sacrifices.

For a rainy Sunday morning. Would have been a more fulfilling, effective, and honest film if you got to actually see the final painting, but alas, that reveal never comes.

This movie is not for everybody. If you're not an artist, or interested in the artist's process, I wouldn't touch this movie with a ten foot pole. If you are an artist, you may (or may not) like this. It is four hours.......and this movie is basically about a guy trying to make a painting. Stroke by excruciating stroke. His model (Emmanuelle Beart) spends much of the movie bored out of her mind as he works, and you might be as well. That said: I watched the entire four hour movie in one sitting, which is pretty shocking for me. Days later, it's still in my mind. Excellent acting. Beart's performance is particularly impeccable.

1001 movies to see before you die. Rather tedious and I understand that that is part of the point. However, I am not sure if it was worth it, to see the portrait of a waning artist. It shows in detail the artistic process and what it takes to for inspiration and vision. All in all, I have never seen a movie like it, but does that make it one of the 1001? It was on Tubi.

Let's put the pain back in painting. One of seemingly few films of excessive runtime that really knows how to wield it, La Belle Noiseuse is focused on exploring the 'brewing' behind its objective plot, rather than the events in and of themselves. The development of the relationship between Piccoli's reclusive artist Frenhofer and his new muse, Béart's Marianne, is told through small spur of the moment reactions that build up to larger revelations, against a backdrop of torrid relationships, artistic expression, and repressed emotion, all accompanied by a chorus of scratching fountain pens. One of the great aspects of the film is the willingness to blur the lines between genuine artistry and pretension. Upon their introductions, both Frenhofer and Bursztein's Nicolas are spouting off various pseudo-profound ruminations about insight from expression, etc., each for different reasons - Nicolas to pretend that he belongs in this clique of the enlightened, and Frenhofer that he still has passion and insight that he has been without for some time. However, as time passes, their posing begins to fade into a few choice moments of true expression with the advent of romantic strife and personal insight. Both a film about creativity and aging, new and old love, Rivette creates a beautiful film that does not feel nearly as long in practice as its runtime would suggest; one of the latest truly great films from any notable director of the French New Wave. (4.5/5)

Sexiest Sex Movies Most watched sex movies.

Really? Why are all these people blowing smoke up this director's ass? 4 hours depicting an old man's 'painter's' block? Zero plot, I mean absolutely nothing happens here except an unimaginative tribute to the male gaze. Oh, and the 'sketching' you get to sit through for 2 hours! I've seen better sketch books produced by 11th grade art wannabes. Wow, talk about drinking the Kool-Aid. Pretentious pap!

An underrated work, just a long and long film.

Suresine rağmen sıkmayan,guzel bir fransiz filmi.Sanatla ilgili oldugu icin ilgimi çekti.

A probing meditation on art and the relationship between the artist and his subject. Perhaps the film's greatest achievement lies in its suspenseful portrayal of artistic genius without ever resorting to sensational techniques or melodrama.

I love the French movies they are very open and sensual.

Acting again prevailed in this movie. plot was okay but lacked and had some holes aswell it was a bore at times

At 4 hours it's not for everyone but like a fine piece of art that requires patience to understand the closer you look the more you realise that this is something deeply profound.

cinegeek.de Our Daily Free Stream: Jacques Rivette - La Belle Noiseuse. Frenhofer, der grosse Künstler, hat seit zehn Jahren nichts mehr gemalt. Er warf alles hin während der Arbeit an seinem Meisterwerk, das er La Belle Noiseuse nennen wollte. Sein Model: Die eigene Frau Elizabeth, die Inspiration für den erfolgreichsten Teil von Frenhofers Karriere. Zuerst, so Elizabeth, malte Frenhofer sie, weil sie ihn liebte. Zum Schluss, so führt sie aus, weil er sie liebte. Dann hörte er auf, fürchtend, das Werk würde diese Liebe zerstören. Frenhofer sieht nicht das Äussere, er stellt das Innere seiner Models dar. Knochen, Sehnen, die Seele. Eines Tages klopfen drei Besucher an die Tür des Chateaus, in dem Frenhofer noch immer mit Elizabeth zurückgezogen lebt. Ein Sammler, ein junger Maler und dessen Freundin Marianne. Marianne ist distanziert, unnahbar und von starkem Willen. Während des gemeinsamen Abendessens blickt Frenhofer Marianne an - und dieser Blick bezeichnet ihre gesamte Beziehung. Marianne spürt das, sie will weg von ihm, denn sie ist sich der Gefühle, die hinter Frenhofers Blick stehen, bewusst: Er wird wieder anfangen, zu malen. Jacques Rivettes Film La Belle Noiseuse ist der beste Film, den ich über die Entstehung von Kunst jemals sah! Es ist auch der grösste Film über die schmerzhafte Beziehung eines Künstlers zu seiner Muse. Rivettes Film hat eine Laufzeit von über vier Stunden. Er schnitt zusätzlich eine gekürzte Divertimento Fassung - doch wozu? Die Grösse von La Belle Noiseuse besteht darin, Zeit mit der Entstehung von Kunst zu verbringen - und mit dem Aufkeimen, schliesslich der Zerstörung von Leidenschaft. Frenhofer wird gespielt von Michel Piccoli, dessen Augen andere Schauspieler durchdringen können. Mit seiner hohen Stirn wirkt er intelligent, doch wir spüren; es ist eine furchtbare Intelligenz. Emmanuelle Béart ist eine vollkommene Schönheit mit tiefen Augen, vollen Lippen - und beeindruckender Willenskraft. Wir können nachvollziehen, was Frenhofer in Marianne sieht. Seine Frau Elizabeth (Jane Birkin) versteht es auch. Sie warnt Marianne, Frenhofer nicht ihre Augen malen zu lassen. Das Bild könnte dem Model die Lebenskraft entziehen (Wir bemerken einen Hauch Oscar Wilde in dieser Idee). So viel zum Plot, der uns aber an sich nicht weiter beschäftigt. Die stärksten Szenen des Films, sie konzentrieren sich ganz auf das Kreieren eines Kunstwerks. In seiner gemauerten Halle, seinem Studio, beginnt Frenhofer, Marianne zu skizzieren. Wir blicken ihm dabei über die Schulter (was Rivette uns in sehr langen Einstellungen ermöglicht). Ein körperlicher Prozess, wie er obsessiv seine Stifte, Pinsel und Farben sortiert. Die ersten Striche, dann Öl. Frenhofer weist Marianne eine Garderobe zu; sie versteht, legt ihren Mantel ab und wird für die nächsten vier Stunden nackt sein. Zunächst betrachten wir Emmanuelle Béart als Frau, dann als Modell. Langsam sehen wir das, was Frenhofer meint: Ihr Innerstes, ihre Essenz, ihr Sein. Er bewegt ihre Arme und Beine wie die einer Puppe. Sie beschwert sich über eingeschlafene Beine und verlangt nach einer Zigarette. Frenhofer nimmt sie ihr weg und biegt sie erneut in Position. Hört es sich langweilig an, einen Mann einfach beim Malen zuzusehen? Mitnichten! Spannung wird langsam aufgebaut. Ein Kampf um den stärkeren Willen entwickelt sich. Marianne ist eine Zumutung, eine Belästigung. Elizabeth übersetzt "noiseuse" mit "nutty". Marianne ist verrückt. Das ist es, was Frenhofer will! Sie beginnt zu verstehen und willigt ihrer Determinierung zu. Nun ist es Marianne, die die Arbeit antreibt. Am Tag als La Belle Noiseuse vollendet ist, bekommen wir es nicht zu sehen. Marianne beschreibt, wie sie darin etwas sah, kalt und trocken - sich selbst. Das muss uns reichen. Nachts schleicht Elizabeth ins Atelier und begreift: Sie markiert das Bild mit einem Kreuz. Es bezeichnet Frenhofers Tod. Stell dir diese Atmosphäre nun vor mit den Geräuschen, die Rivette verwendet im alten Schloss. Wir hören den Wind in den Wäldern draussen und in den alten Mauern, Fusstritte, das Zuschlagen einer alten Tür. Es ist kein Zufall, dass La Belle Noiseuse wie ein Spukfilm wirkt. Elizabeth erwähnt, dass es in den alten Mauern spukt. Wir hören das Kratzen der Stifte auf dem Papier (und das zunehmend lauter). Während einer Szene sehen wir Marianne unter einem Kreuz gebeugt. Zunächst weint sie leise, dann beginnt sie zu lachen - immer stärker. Das Kratzen des Stifts dabei, wir meinen es immer noch zu hören, obwohl Frenhofer ihn beiseite gelegt hat. Man sagt, die Nouvelle Vage hätte nur stattgefunden wegen ihm: Jacques Rivette. Er selbst war nie so berühmt wie seine Weggefährten. Dafür gestalteten sich Rivettes Filme als zu lang und kompliziert. In La Belle Noiseuse sehe ich jedoch nicht den geringsten Grad an Schwierigkeit! Ich wünsche mir den Film genauso lang wie er ist - nicht eine Minute weniger! Ich habe mitgefühlt beim Kampf im Atelier, bei der entstehenden Bindung. Piccoli verkörpert exakt Frenhofers Vorstellungen und bedarf dafür keiner Worte. Béart ist von ätherischer Schönheit mit dem Wahnsinn, der Frenhofer an Marianne fesselt. Ist die Kälte in La Belle Noiseuse, die Marianne darin sieht, das, was Frenhofer für sie erhoffte? Frenhofer wird das Werk nicht zerstören, jedoch auch nicht ausstellen. Aufschluss gibt die Figur der Elzabeth, verkörpert durch Birkin: Gab es je Momente, da sie wünschte, Frenhofer hätte beider grösstes Kunstwerk vollendet? Sie weniger geliebt? Es ist schlicht so, dass sie die Grösse ihres Mannes erkennt. Elizabeth glaubt an diese Grösse - das erklärt alle unaufgelösten Fragen in La Belle Noiseuse (wovon es einige gibt).

This is certainly an enjoyable work, but as compared to other films by Jacques Rivette, it's considerably thinner.

One of the best films you are likely to see about an artist. This basically shows one how to appreciate certain art in the world and the process an artist goes through when creating work from the soul . It's a long feat to get through this 4 hour piece, but it was worth it even if the end left me wanting more. You really do get involved in this world and feel what the characters go through. It's painful, but entirely rewarding.

If this was a Hollywood movie, the story most probably would be about the rise and fall of a painter, how his work reflected his personal life, it would bring to light the reasons of why he gave up his profession, and would place the whole creative process that restored his inspiration - depicted here in around 205 minutes - in just 5 minutes, with quick and fadeout editing techniques as an irrelevant part. It would then give a closure of his decision, highlighting the final painting in full detail. Now, I am not diminishing the quality of this hypothetical alternative project. On the contrary, I think that all events in the life of a person, particularly of an artist, are equally important as those events in the life of any other human being. However, if we try to make a historical recollection about fascinating, insightful depictions about the methodical evolution of the creative process in the artist's mind, maybe we would be left blank-minded. <i>La Belle Noiseuse</i> is an essay like no other, but if it is meant to talk deeply at a particular viewers segment, it is that represented by art supporters. Personally, I am an avid fan of all arts, not only cinema, so this meta-art project (which is certainly not the first project of this kind made by Rivette) spoke of so many things that matter to me in art. It is an extraordinary, complete project about the creation of art and its meaning. Any art form represents a human exercise to externalize the content's of oneself's soul through a language that can assign it a perpetual value. That's my favorite definition. Art pieces depend solely on the internal state of the author. Influences execute an extraordinarily important force in this inspiration process, but in the end, an art form is a decision incarnated. Under this definition, Rivette is a true artist. The emphasis on how an idea begins from an event, and this event materializes from scratch, beginning with the trace of a line, is a beautiful event explored in the movie. Maybe after the cellular formation of any living being until its birth, the creation of an art piece is the most wonderful thing to happen in this God's creation. On the other hand, art is subjective, and the toughest juror of an art piece is the creator himself/herself. It makes matters even more complicated when you, as an artist, are currently uncapable of doing at least either one of the following two things: a) to know what you're seeking, and b) to know what are the motives behind your work. Even if you had no motives, then that would be a motive. Still, point a) breaks down into another issue: to know whether if what you are seeking is something you have seen before. The process of mental idealization can be very dangerous, given that your potential masterpiece looks so wonderful in your head, that an attempt to physically replicate that idealization can ultimately lead to frustration... maybe even to the death of the inspiration itself. That is a groundbreaking event, and that is maybe the conflict of the protagonist. Finally, we have what the finished art work means both to the artist and to the inspiration behind it, in case that such inspiration turns out to be a person. Nudism in particular has an impactful effect on me as an art admirer because it is one of the numerous, and yet efficient ways to emotionally break both the body of the model and the perseverance of the artist. Both discover themselves. Both can establish an intangible relationship of almost metaphysical proportions between each other, and also they discover themselves individually. I never thought this movie would be capable of reaching that topic barrier, but it did, against all my expectations, and therefore assuring itself the highest rating accolades. What a wonderful picture, truly. Rivette is a magician, beyond all doubts. He can transform 238 minutes into 140 with no complication. <i>La Belle Noiseuse</i> is both an essay of this creative process and a reflection of Rivette engaging in that process himself. There are always layers in any meta-art project, and they are always interesting to discuss. A marvelous triumph! 97/100

La Belle Ennuyeuse. 229 minutes of watching paint dry. (Draft review at 3 hours in).

Outrageously long it may seem, La Belle Noiseuse is about gender rivalry, manipulation, marriage and dream. But even if you are not so fond of the values it explores, Michel Piccoli's superlative craftsmanship and Emmanuelle Béart's perfect body won't let you down anyway.