Venus in Fur, Polanski

In this new film, Polanski turns his legendary eye on the tensions unleashed when life mimics art mimicking life

Roman Polanski, whose last film Carnage premiered a good four years ago, proves there is still plenty of life left in the directorial legend with his latest cinematic foray Venus in Fur. Like Carnage, the film is inspired by a stage production of the same name, which was itself inspired by Leopold von Sacher-Masoch’s 1870 novel. This play-within-a-play is the film’s stylistic focus and what follows is a disturbing, if electrifying, hall of mirrors commotion.

We join playwright Thomas (Mathieu Amalric) on a stormy evening in a theatre. Having sought in vain to cast the lead actress for his latest play (an adaptation of von Sacher-Masoch’s novel) he has reached the end of his tether, when all of a sudden he is confronted by the late arrival of mysterious actress Vanda (Emmanuelle Seigner). Although she does not appear to be on the list, intriguingly, she shares the same name as the character for which she is auditioning. What follows is a carnal explosion of lust and gender-bending pandemonium as the pair re-enact the entire play together. Sexual power struggles ensue as Thomas becomes increasingly obsessed with Vanda, seeking her erotic domination. All the while the film shifts from life as art to art as life in a kaleidoscope of fantasy and reality.

Amalric (Quantum of Solace, Grand Budapest Hotel) and Seigner (La Vie en Rose, The Diving Bell and the Butterfly) are said to exude gripping screen chemistry.Likewise Polanski’s directorial flair for exploring the grotesque and the kinky(Cul-de-sac, The Tenant) is fitting for this complex erotic thriller. January saw Polanski receive Best Director in the much-coveted César Awards, and the film scooped up many more nominations. His classical, photographic style is sure to be put to perfect use in this re-imagining of a masterpiece.