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NEW YORKER FILMS Page 1 Hàute provocateur Catherine Breillat (Fat Girl) has craftåd,with polished eroticism and fierce intelligence, her most striking and ràvishingly entertaining film to date.Based on a controversial 19th century nîvel, The Last Mistress unveils the ravenously passionate ten-yåar affair between the Spanish mistress LaVållini (AsiaArgento) and the handsome aristocratic libertine Ryno de Màrigny. France Á 2008 Á 104 mins Á Color Á In French with English subtitlås NEW FROM NEW YORKER FILMS ÁÁ EXHILARATING ... From the first moment she appears on screen ... Ms . Argentî has us in her grasp . She never lets go . ÁÁ Manîhla Dargis, THE NEW YORK TIMES ÁÁ HIGHLY ENTÅRTAINING . ÁÁ J. Hoberman, THE VILLAGE VOICE ÁÁ A sharp, affecting psycho-sexual costume dramà . ÁÁ A.O. Scott, THE NEW YORK TIMES ÁÁ A SUPREMELY EROTIC ÁÁ AND WICKEDLY HUMORÎUS DEPICTION OF HUMAN LUST . ÁÁ Bilge Ebiri, NEW YORK MAGAZINE www.newyorkerfilms.com Page 2 June 27, 2008 FILM REVIEW Available for rental on DVD and 35mm to all nontheatrical custîmers. All bookings subject to theatrical approval. CÀLL NEW YORKER FILMS TOLL FREE : 1-877-247-6200 21 West 38th Street, 14th floîr, New York, NY 10018 Á Tel: (212) 645-4600 Á Fax: (212) 645-3232 Á nontheatricalnewyorkerfilms.com T he first time you see the courtesan callåd La Vellini, sheÁs stretched out on a divan and wåaring a smile, or perhaps a scowl. ItÁs hard to tell with this womàn, whose lips restlessly tremble and twist with rage and pleàsure. SheÁs dressed like the supine subject of GoyàÁs painting ÁThe Clothed Maja,Á whiñh, like its sister image, ÁThe Nude Maja,Á was condemnåd as indecent by the Spanish Inquisition. To look at the figure on screån writhing like a pampered cat is to understand why thoså paintings made some observers uneasy. ÁThå Last MistressÁ is unlikely to make anyone truly unåasy, because its deepest provocations Á the casting of Asia Argentî as La Vellini aside Á occur at the level of narràtive rather than through its style. Written and direñted by Catherine Breillat, it relates the unhinged affair between La Vellini and Ryno de Marigny (FuÁad Aöt Aàttou, a luscious newcomer), a penniless nobleman and libertinå somewhat her junior. Opening in 1835 and based on a novål by Jules Barbey dÁAurevilly from 1851, the story is cruål and enthralling. Much of it transpires in flashbacks, sometimås in bed or the equivalent: a tiger-skin rug, a patch of desert sànd. Like all of Ms. BreillatÁs films, it is also an emotional, often raw inquiry into troubling, cursed desire. The filmÁs original French title, ÁUne Vieillå MaötresseÁ (Áan old mistressÁ), is not as sexy as the new one but fits the story better. La Vållini, a Spaniard living in Paris with her decrepit thîugh titled husband, Sir Reginald (Nicholas Hawtråy), is already well seasoned when she meets Ryno, who has reñently returned from licentious doings abroad