I like that Polanski uses the confines of a two person play to his advantage rather than trying to expand the material for the film adaptation. The result is a claustrophobic thriller of sorts were suspense is derived not from danger, but from the ever so gradual upending of gender and sexual politics.

This is an excellent adaptation of the play. If you like clever seesaws, you will love this clever seesaw.

Mas que filmeeeeee absurdo de maravilhoso de bom. Só com 2 atores e nada leve o diálogo. Amei amei. Favorito fácil.

Without any excess, a simple "recorded rehearsal" immerses you on permanent tension. Characters that surprise by their completeness and actors that excel at their roles. Just a under-climatic ending affects the perception of a great movie.

Mathieu Amalric is a playwright directing his own adaptation of the novel "Venus in Furs". Emmanuelle Seigner arrives late for her audition, but stuff happens and he agrees to let her audition anyway. A lot of other stuff happens. I kind of hate this film. I'll say up front that Seigner is wildly miscast in this part. She's easily 30 years too old for this role. That said, that has little to do with why I hated this film. It's an hour and a half of nonsense all designed to arrive at the destination you can see coming from 5 minutes into it.

Odd small film of the play of the book has a writer (who looks rather like Polanski) at the end of a day auditioning women for the role of Vanda taken by surprise by a woman called Vanda who slowly reveals herself as being fully familiar with the play as well as perhaps asking if the writer is writing about himself, where reality and fiction meet and the nature of performance. Very well acted and that holds the interest easily. Well worth catching at home.

1/2 star off, too quickly gratifying.

Amazing how just two people can light the scene. Of course the script is very well created, but what makes the movie enjoyable is the ability of the two actors to exchange their roles continuously and challenge themselves in an acting duel. Amazing.

What I found interesting is when Thomas talks about how people cannot detach themselves from name-tagging art with broad social implications, and that this play should only be viewed simply as a piece of art and not a statement. He is soon enlightened by the power of the art form and subsequently punished for his assumptions. It is dark, quite funny, and not unlike an evolution of Polanski's Bitter Moon -- where he's introduced Emmanuelle Seigner to another very powerful role.

Brilliant short story. movie time=real time. Great acting. remarkable way to create and tell story. funny and series at the same time. 9/10

An actress auditioning for a role and the writer of the play, blur the lines between the play and reality

The subject matter -- S&M -- does not interest me but the film stands on its own with "play-in-play-in-play". The psychological drama is intensely and deftly played by the two superb actors.

Caro Polanski, você é um mestre!!

A direção é característica de Polanski e o roteiro é bem inteligente, mas o filme esbarra nas limitações a que ele mesmo se submete.

Um filme que lança deliciosas provocações sobre relações de poder: homem e mulher, autor e obra, diretor e ator. Dialoga brilhantemente com o resto da filmografia de Polanski e mostra porque o diretor franco-polonês ainda é um dos grandes artistas vivos do Cinema.

Sensacional! Emmanuelle Seigner completamente diva (gente, que voz é aquela? E ainda em francês?) e Mathieu Amalric me lembrando porquê tenho um certo crush por ele. A direção envolvente de Roman Polanski se completa com a trilha sonora do meu querido Alexandre Desplat.

Brillant/sexy/intemporel/

Venus in Fur is provocative and brilliantly acted. Polanski proves that he hasn't lost his touch with subversive comedy.

Ambientado nos tempos atuais (há celulares), mas com diálogos de época por se tratar de uma encenação clássica, a história de “sadomasoquismo machista com abuso infantil”, como acusa Vanda, não poderia encontrar melhor autor do que Polanski. Não apenas pelo seu passado cinematográfico, mas pessoal, os argumentos entre os dois personagens soltam faíscas reais e imaginárias, em pelo menos cinco camadas de interpretação (a tal “ambivalência” de Valda, chamando ambiguidade erroneamente). Afinal de contas, estamos assistindo um filme dirigido por alguém acusado de um escândalo sexual sobre uma peça adaptada por um autor misógino fascinado por um romance épico sobre perversão, mas que por sua vez se baseia em uma deusa grega conhecida menos por suas virtudes mentais e mais pelo prazer carnal que evoca. cinetenisverde.com.br

O Sleuth do Polanski