38 years after the original story, Henri Husson thinks he sees Séverine one night in a concert. He follows her and makes her face her past and with sadism takes a slow and painful revenge on her.

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Cast

Cast overview:
...
Bulle Ogier ...
Ricardo Trêpa ...
Barman
Leonor Baldaque ...
Young Prostitute
Júlia Buisel ...
Old Prostitute
Lawrence Foster ...
Himself - Direction musicale
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Storyline

Belle toujours occurred to me unexpectedly and, as I had the will to pay my tribute to Luis Buñuel and Jean-Claude Carrière, I was happy to have found a way to do so, perhaps the best, and I started working. What is it about? Taking two of the strange characters from the film Belle de Jour, and make them relive, thirty eight years later, in the strangeness of a secret which was only in the possession of the masculine character and a knowledge that had become crucial to the female character. Thus, passed this time, they meet again. She tries to avoid him by all means. But he stalks her and eventually manages to gain her attention with the intention of revealing the secret that he alone can unfold. They set a meeting, a dinner, where she expects that all will be revealed. During dinner, she, now a widow, awaits the expected revelation: what he had told her husband while he was mute and paralytic because of a gunshot wound fired by a lover of hers. The situation is tense and she ends up ... Written by Manoel de Oliveira

Plot Summary | Add Synopsis

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Drama | Music

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Details

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Release Date:

11 April 2007 (France)  »

Also Known As:

Bella sempre  »

Filming Locations:

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Box Office

Opening Weekend:

$5,363 (USA) (8 June 2007)

Gross:

$10,643 (USA) (7 September 2007)
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Company Credits

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1.66 : 1
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Did You Know?

Trivia

Portugal's Official Submission to the Best Foreign Language Film Category of the 80th Annual Academy Awards (2008). See more »

Connections

Follows Belle de Jour (1967) See more »

Soundtracks

Symphonie n° 8 en sol majeur - Op. 88 (mouvements 3 et 4)
(credited incorrectly as mouvements 2 et 3)
Composed by Antonín Dvorák
Performed by L'Orchestre de la Fondation Calouste Gulbenkian
Conducted by Lawrence Foster
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User Reviews

 
Trying to catch Buñuel's spirit
27 September 2011 | by (Portugal) – See all my reviews

But not succeeding anyway. Buñuel was a genius and de Oliveira only a very talented movie director. A parenthesis to say that for you to understand fully this movie you must have seen Buñuel's movie "Belle de Jour" which dates from the sixties of last century. This movie now aspires (as some kind of homage to Buñuel's work) to be some kind of continuation of the latter but a feeble one indeed. Those who have seen Buñuel's movie probably will remember the story: a beautiful woman (Catherine Deneuve then) who loves her husband has however some masochist tendency which pulls her to prostitute herself in a luxury brothel. Buñuel tells this story brilliantly in images and dialogues diving deeply in the arcana of the human soul. De Oliveira's movie profits (or tries to profit) from that story by concocting a supposed not very meaningful end to it (which becomes a poor open end after all). The story of the movie we are reviewing now is based in the encounter many years later of the woman of the first movie (Bulle Ogier now who resembles Catherine Deneuve as much as a screech-owl resembles a dove)and a close friend (Michel Piccoli) of her and her (now already deceased) husband, who tries to convince her to have dinner with him in a private room in a posh restaurant by promising to tell her if he had or not told her husband at the time of the events above mentioned, about her behaviour also above described. This has not much interest in itself as the continuation of Buñuel's story to be given as the climax in de Oliveira's movie. To the movie's credit however we may refer the excellent performance of Michel Piccoli, a few nice images of Paris and some beautiful interiors and visual details and the smooth visual development of the story showing the de Oliveira's real talent in what regards movie's and actor's direction. And that's all.


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