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Venus Beauty (1999)

Vénus beauté (institut) (original title)
Employees of a beauty parlor in search of love and happiness.



(screenplay), (dialogue) | 2 more credits »
8 wins & 3 nominations. See more awards »
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Cast overview, first billed only:
Bulle Ogier ...
Madame Nadine, la patronne
Antoine DuMont
Jacques Bonnaffé ...
Robert Hossein ...
La cliente aux bottines fourées
La cliente aux taches sur les mains
Hélène Fillières ...
La fiancée d'Antoine (as Hélène Filières)
Brigitte Roüan ...
Madame Marianne
Claire Nebout ...
La cliente exhibitioniste
Tante Maryse
Tante Lyda
Mlle Evelyne


Madam Nadine manages with pride the "Vénus beauté" Salon which offers relaxation, massage and make-up services. The owner and her three beauticians: Samantha, Marianne and Angèle are pros. Contrary to her friend Marianne, who still dreams of the big day, Angèle no longer believes in love. Marie, the youngest of the three employees, discovers love in the hands of a sixty year-old former pilot, who risks everything... Written by L.H. Wong <lhw@sfs.org.sg>

Plot Summary | Add Synopsis


Welcome to the Venus Beauty Institute where love, innocence and sex are a sight to behold.


Comedy | Drama | Romance

Motion Picture Rating (MPAA)

Rated R for sexuality/nudity and language | See all certifications »




Release Date:

3 February 1999 (France)  »

Also Known As:

Venus Beauty Institute  »

Filming Locations:

Box Office

Opening Weekend:

$32,150 (USA) (27 October 2000)


$416,464 (USA) (21 September 2001)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:


Aspect Ratio:

1.85 : 1
See  »

Did You Know?


Veteran French actress Micheline Presle, who cameos as a spinster aunt, is actually the mother of director Tonie Marshall. See more »


Angele: When you smile I find you handsome.
Jacques: That's because you know my soul.
See more »


Followed by Venus and Apollo (2005) See more »


Le premier bonheur du jour
Lyrics by Frank Gérald
Music by Jean Renard
Performed by Françoise Hardy (1963 BMG Vogue)
See more »

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User Reviews

French slice of professional life with a disappointing ending
10 August 2000 | by (United Kingdom) – See all my reviews

Angèle works in a Paris beauty salon with the ingénue-like Marie and cynical Samantha. Their boss is the supportive but businesslike Nadine (an extremely funny and perceptive performance by Ogier, one of Buñuel's bourgeois in Le Charme Discret… and the dominatrix of Schroeder's Maîtresse) who has years of experience in broken hearts and knows how to keep a professional distance. The film charts Angèle's own progress from embittered divorcée to feeling human being through her pursuit by the love-smitten sculptor, Antoine.

We first see Angèle chatting up a total stranger in a railway buffet. This is what she does. She picks up men for casual sex because her faith in the possibility of love left her when her marriage failed (actually she shot her husband, though not fatally). It is ironic, therefore, that a strikingly similar crime of passion causes a turnaround, but… enough said for now.

What delights most of all in this film is Nathalie Baye's performance. Having had to make do for much of her career with Adjani-type roles such as those in Le Retour de Martin Guerre or La Balance, she has matured to the point where at last she is being offered more interesting work. She invests Angèle with the vulnerability that we have glimpsed in the past, but which carries before it a prickly resilience necessary for survival.

Another great pleasure is the portrait of the beauty salon milieu, which lays bare -rather than covers up - human foibles with typical Gallic frankness. This is not the ersatz world of Cher in Mermaids, nor does it adopt the feminist critique that beauty products are emblems of women's self-enslavement to men. Instead it allows both humour and melancholy to let individual cases speak for themselves. The salon is a self-contained world, with its naggingly distinctive door jingle, where different solutions to the single woman's predicament are offered by employee and customer alike. Nadine tells Angèle: 'When you're not a girl any more, you'd better decide not to be a girl any more.' Samantha is promiscuous but, unlike Angèle, allows her disappointments to affect her professional life, which brings her into conflict with Nadine. But significantly when she tells Nadine where to go, while we may sympathise more with Samantha, Nadine is not made to look petty by comparison (it is possible to imagine how an American film would handle this scene very differently). Marie has a liaison with an injured pilot (Sixties matinée idol Robert Hossein) many years her senior, something Angèle finds it hard to understand until she is turned on by witnessing their nocturnal tryst. Meanwhile Angèle's provincial aunts (Micheline Presle, the director's mother and star of Boule de Suif and Le Diable au Corps, and Emmanuelle Riva, most famously of Resnais's Hiroshima Mon Amour - both too briefly glimpsed here) co-exist in a domestic routine which is comparatively idyllic but envy Angèle's independence and ability to live it up in the big city. No one is happy.

Clearly the sculptor, with his undemanding love, is the key for Angèle (and many another single female, no doubt!) but just how the film makes the transition from her morose rebuttals to melting acceptance is one aspect in which you may feel it betrays its Mike Leigh-style realism by opting for an ending which is too whimsical. We hope this does not spoil the many other qualities of Marshall's film.

By the same director: If you enjoy Vénus Beauté you would certainly like Tonie Marshall's earlier feature, Pas très catholique.

7 of 9 people found this review helpful.  Was this review helpful to you?

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