The only authentically dangerous creature in our cinemas this week is Asia Argento’s violently passionate Spanish courtesan Vellini in Catherine Breillat’s period drama The Last Mistress. Adapted from the novel by the scandalous 19th-century writer Jules Amédée-Barbey d’Aurevilly, this is, at first glance, a more conventional and accessible film from Breillat, who is best known for her cerebral and gynaecologically graphic explorations of female sexuality. This is closer in tone to the likes of Dangerous Liaisons – picturesque, decadent French aristos fending off ennui with treacherous gossip about their nearest and dearest, and depraved affairs with unsuitable partners.

Vellini’s power over her young lover Ryno (Fu’ad Ait Aattou) is failing, and every whispered bit of scandal and sly glance reminds her of the fact. Ryno is due to be married to the beautiful Hermangarde (Roxane Mesquida) and fervently believes that his entanglement with Vellini is over. But she proves to be a habit that is hard to break.

The histrionic grand passions border on the ridiculous. Argento’s wildcat Vellini lashes out at the ones she loves, and she’s usually holding a knife when she does it. But it’s a handsome and atmospheric piece that explores Breillat’s preferred themes of sex and misery with gusto.

15, 104mins

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