Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Payno I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Catherina If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

jackasstrange A minor film in Bresson's filmography, still surprisingly good though. There is really a lot of craft put in the film, the shaping of the lights and shadows, if you pay attention, various objects are put purposefully next to the characters to represent their current emotional state (the flowers, ivory jars etc.) . Is a story mainly about revenge, but also deals with subjects such as oppressive exterior forces vs the individuals will, manipulation, and a very obvious critic to the socialites and their behavior. Interesting I'd say, though it kinda drag at times. Oh, and I liked very much Maria Casares acting too. By far the best of the entire cast. This is also the last Bresson's film to feature a cast entirely composed of professional actors. A 7.5 is a fair rating.

christopher-underwood There is much to enjoy in this simple tale of the wrath of a woman scorned, but 'timeless', 'masterpiece' or 'spellbinding', I rather think not. It is beautifully shot with memorable performances and an effective if barely believable dialogue. Early on the power and determination evidenced by a mere look from Maria Casares does give one hope that this might have the power of a vintage Bunuel. Unfortunately, for me, Bresson is far more interested in humiliation and misogyny than real passion and convincing evil. I know allowances have to be made for the passing time and changes morals but surely even within the movie as it stands little really adds up. Something of infatuation is illustrated but where is the wonderful portrayal of deep love that some strange folk detect?

andrabem "Le Dames de Bois de Boulogne" is a very beautiful and rich love story. Bresson was a painter before becoming a director and he thought that images could convey feelings more purely than words. Contrary to many other films in which the words are the main tools used to describe feelings and love, the films of Bresson rely on the power of images. That is why "Les Dames de Bois de Boulogne" can have such an emotional impact on the sensitive viewer. In some ways Bresson reminds me of Antonioni (only visually speaking). Bresson is what I would call an idealist and Antonioni, maybe a relativist? (It is difficult to put a label on people or peoples ideas), but anyway both of them are visual masters."Le Dames de Bois de Boulogne" describes the many stages of a love relationship very subtly - a never-ending passion (but the fire is slowly going out) and the couple, Jean (Paul Bernard) and Helene (Maria Casares) decides (by suggestion of Helene) that it's time for them to end their love relationship but to remain faithful friends for life. Everything seems to be alright till Jean knows Agnès (a Helene protégée) and falls in love with her. But in Helene the remaining embers of the old passion are enough to rekindle the fire (not of love, but of jealousy) and she plans revenge.........This is the classic love triangle story, but it is told without fanfares in a minimalistic way, and therefore it has a strong effect. At the end of the film we are esthetically and emotionally moved. We saw beauty.

writers_reign Movies that are pre-sold as 'classic', 'masterpiece', etc nearly always have a tough row to hoe to live up to the hype. I've seen only a handful of Bresson movies and the only one I am happy to concede is a masterpiece is Au Hasard, Balthazar, the others are just a heavy mixture of the static and the obscure. This is no exception. Throughout I had the feeling I was watching cyphers rather than real people. There seemed to be no real reason for 1) a popular prostitute to quit the profession and 2) accept the largesse of another woman. The fact that the prostitute is the least-likely looking hooker that ever came down the Pike is another factor as is her mother's acquiescence/acceptance. The air of unreality doesn't help much either if anybody asks you. Strange to think that when a far superior film, the Carne-Prevert Les Portes de la nuit, tried to mix fantasy with realism within months of this entry it was laughed off the screen and took several years to be acknowledged as the gem it is. This is one to see if you're a Bresson completist otherwise give it plenty of room.