The Beautiful Troublemaker

A very precisely directed movie, in which the movement of the camera and of figures within its frame seems to be a constant rearranging of poses. The notion of art with which the painter is concerned would fall, I guess, within what is usually called "modernism", and so might be construed by some as antiquated: that is precisely what makes it good. The characters, too, are rendered with admirable precision, in Rivette's (or Bonitzer's, or perhaps Laurent's) singular, hard-to-pin down style.

At times, watching this movie is a bit like being waterboarded with FRENCH. It's a four hour long meditation on art and if that sounds like something you'd hate, then it definitely is. Me, I enjoyed the shit out of its lofty pretentions, gorgeous cinematography and hypnotic pace, along with excellent performances from Piccoli and Birkin. Also, Emmanuelle Béart spends like three hours of this movie naked. Rivette, I salute you.

I like Rivette because his films always stay with me, like a haunting dream, long after I've seen them - even the ones I found somewhat boring while I was watching them. This one, though, hasn't really stuck with me. It's a great film, no doubt, but it doesn't haunt me. I can see why critics would embrace this as Rivette's best film, but for me it's just not as interesting as, say, Duelle or Noroit.

Interesting study of the artistic process and how it can affect those involved. Rivette has a naturalistic style with very little fuss... most of the fussiness is left to the dialogue. I felt the script was the weakest aspect of the film, with everyone talking in such an introspective, abstract manner. Otherwise, I was more engaged than I expected to be. I can't think of anything that was particularly superfluous. While I certainly wouldn't call the film a masterpiece it was pretty intriguing.

In order to extract the truth from reality through painting, it’s necessary to contort the mind, soul and in particular the body, until they crumble and are reformed (anew) on the canvas. Rivette makes this process cinematically evident by enacting his masterful control of pacing, vivid depiction of the characters’ interpersonal relationship and refusal to reduce the painter-model pairing to an erotic or sensual dyad (rather, Marianne’s and Édouard’s encounter is simply corporeal in nature).

Very interesting film about the creative drive & artistic process. For a 3.5+ hour film about painting, it feels surprisingly brisk. I think most of the scenes with the young husband (and his sister) could have been omitted. I don't know if I'm alone in this, but the sound of that fountain pen scratching on the paper may be the most disgusting sound ever recorded; it almost sent me into convulsions. But it certainly helps make painting feel more visceral.

The Frenchest film I've ever seen.

06 Aralik 12 & Rivette'nin filmleri beni icine almiyor; disinda tutuyor ve bu nedenle de film ile aramda bir bag kuramiyor. Sanki tum filmi filmin sonunda kadinin reddedisi icin izlemisi gibi. Zaten film boyunca kadinin kimlik kazanmasini, olgunlasmasini izliyoruz.

"Jacques Rivette's much praised Cannes Grand Prize winner vacillates between genuine insight and didactic mystique-of-the-artist bull****." - Keith Uhlich

Long and occasionally infuriating, this is still one of the best films about the process of creativity I have seen.

who is the troublemaker and what trouble is to be found in the painters study? qui sait? draw your own conclusions if you can endure this long artistic study in one ( or more, like me ) sittings.

Mammoth, fascinating, one-of-a-kind experience that boldly and brazenly pushes way past the point of tedium and back again, delving into the artistic process and all the “tortured artist” tropes (along with their maddening muses). While its Rivette’s aching, laborious, obsessive attention to detail which distinguishes this, it wouldn’t work at all if not for the simultaneously passionate and inscrutable performances from Piccoli and Béart, who are a hypnotic pair both together and apart.

Fairly rare 4 hour film that fully justifies its run time despite not having a huge scope. I was surprised by how much I enjoyed this. It's about art and sensuality and perfectionism and the creative process and the intersection of those things and yet manages to not be very pretentious and also managed to keep my full attention through all four hours. Piccoli and Beart both give out of this world performances, fully bringing to life two great characters. Not for everyone, but it worked for me.

Its super pretentious and complex at first but it slowly becomes more human and ends with a painfully simple ending. Perhaps mirroring life, itself?

Watching paint dry has never been so exciting! On top of an artist's struggle with his creative process, relationship problems and many hidden nuisances, we get quality 4-hour ASMR session ;)

I like this movie most for the attention it’s willing to pay to putting ink and paint on paper. Just enthralling. I find the ending really frustrating. Suddenly, plot intrudes, as though Rivette is scrambling to find some larger significance, or to undo his own movie. The shock when Frenhofer starts painting over his old work should have been enough.

Art art pain sexy

A meditation on an artist and his muse, yet I can't help slightly smirking at it. It's artsy -- well, of course, it's about a painter about to re-spark his creative process -- but it's also a long, slow, almost-silent four hours (which inevitably leads to a comment about "watching paint dry"). I'll admit, viewing the naked girl was not torture; the poses the artist put her in seemed very fake and thus it was no surprise he wasn't capturing her essence.

For a small, quiet movie about the creative process of a painter, there is a lot of fat and repetitiveness. This runtime could have been cut in half and boiled down to its essence. There is some insight here, and I found the first scene between artist and muse different and captivating. I just can't recommend this.

Even though the representation of the process of creation in indeed worth of praise, I could not refrain from feeling uneasy with what can only be described as the romantization of a inherently abusive relationship between the painter and his model. Perhaps the movie would only improve with less focus on the character of Nicolas and a deepening of Liz, by far the most interesting figure in the movie.

Takes the familiar subject of an artist and his muse and mostly avoids the cliches associated with it. The idea that art involves pain and sacrifice is not new, but few, if any, films have really captured the laborious nature of the creative process and the toll it takes on its creators and participants in such an honest and intelligent way. Beart looks stunning and really makes the most of a difficult role, and Rivette's use of long takes creates scenes of unexpected tension and beauty.

Viewed March 19, 2018.

La Belle Noiseuse está para Rivette assim como Le Mépris está para Godard. BlurayRip no MakingOff.

The length is absolutely necessary, and if anything is still too short. We watch at least twenty minutes of pen-and-wash sketching, about the same of charcoal sketching, and then other stages of the painter's work, framed by the demands of the scheming Probus, who needs the painter Frenhofer to produce something he can sell. After four hours, we have some sense of just how much effort goes into making things that are worth seeing.

Passes the time

#671

686

699

(Only seen Divertimento, the shorter version). A humble, naked and meditative film.

# 709