Lunes de fiel

In Roman Polanski's filmography, it is a relatively unknown piece, at least compared to Dance of the Vampires or Rosemary's Baby. However, it is one of his best films - personally, I rank it in third place after The Pianist and Death and the Maiden. It is a fateful psychological drama of a couple torn apart by sexual passion, jealousy, and mutual dependence, which escalates into hatred. Good performances by the actors and a screenplay that managed to describe the pathology of a love relationship without delving into unnecessary vulgarity. Overall impression: 85%. (14/06/2006)

From the very first shot it is devilishly sophisticated and deceiving, and a grandiose depiction of the pure dehumanization of a relationship between two people. All this against the depressing backdrop of a ship or the darkened streets of Paris – your typical neo-noir Polanski of the late eighties/early nineties. It's fascinating how emotionally complex this fresco is and yet it flows with the ease and agility of a racy erotic thriller. One of the director's best films, which you come to like gradually, over time, through a tough skin. (18/11/2016)

I’d always had Polanski as a competent filmmaker, but so far none of his films had managed to captivate me. Between him, as a creator, and me, as a viewer, I’d always felt some sort of barrier that wouldn’t let me tune into the same vibes. Until now. Bitter Moon finally did it. I really dove into this study about an unhealthy relationship during a sea cruise, and I enjoyed it. The experience was both pleasant and unpleasant at the same time. (25/09/2014)

Roman Polanski is able to brilliantly capture the human psyche, human desire, and even human lust. The story, narrated here by the protagonists themselves and which ultimately unfolds and crescendos, is incredibly sexy but in a destructive way, leaving you with a lingering feeling that you want to escape. The characters may not succeed. Well-chosen actors! (09/10/2016)

I have not yet come into contact with Pascal Bruckner's novel of the same name, but it certainly deserves comparison with a film like Bitter Moon. The depths and corners of pathological love relationships are always challenging to process, and to achieve dialogue with the reader or viewer. It is only now that I realize how varied Polanski's work is, and at some point in quieter times, I will return to it contentedly. It is an eternal shame that his name is more of a case than a synonym for his work. Incidentally, the only fault I see here is the casting of Hugh Grant and Kristin Scott Thomas, who at that time were already too big of stars to play only supporting roles. The frame of that New Year's Eve night, the tightly packed environment of the ship, and the portrayal of the entire devastating romance as a confession addressed to a new victim are all good. In addition, the glossing Indian works ideally as a link between the old and the new world, which is a very wise decision. (08/06/2017)