You won't be disappointed!

Very very predictable, including the post credit scene !!!

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Worth seeing just to witness how winsome it is.

nothing different, in essence, by his other films. and nothing common. the speech remains the same. but the magic, the story as support for provocative images, the refined beauty as tool for a clear manifesto are good points in this case about marriage, bourgeoisie values, love, freedom and choices. it is difficult to explain the roots of a Bunuel film and, in same measure , it is not easy to understand, in a time of Hollywood blockbusters, his message. enough could be to admire Catherine Deneuve, the old fashion eroticism and to imagine the significance of scenes. it is portrait of a period and this does it real special. it has admirable forms of poetry, mystery and a form of seduction who remains a great challenge. so, it is not complicated to ignore than this film, like each film of Luis Bunuel, is a talk to you. a personal message. this is the essence in the case of "Belle de Jour".

The silent era, the dawning of sound in film, the narrative complexities of Citizen Kane (1941), the rise and fall of the studio system, the Nouvelle Vogue, the novelty of the summer blockbuster and the increasing corporatism in Hollywood; auteur Luis Bunuel was around for all of that. Standing on the outside of film history, Bunuel never really considered himself a "filmmaker" but more of an artist who uses film as his means of expression. Most of his films were laden several layers deep with repeated narrative elements, incendiary attacks on social institutions, deeply personal musings and of course his trademark surrealism. Even today his films not only defy aspects of film form, but mock any notion of categorization. They're not films, they're defiant chuckles at the expense of the abyss.Belle de Jour is the rebel director's most popular film and by all outward appearances his most commercial. A rundown of the plot reads like an Adrian Lyne film; Severine (Deneuve) a young but emotionally vacant housewife spends her afternoons as a prostitute. Yet what's lost in such a description is the film's oozing sexuality and festering indignation of Catholicism and haute bourgeois living. Not a single frame of Belle de Jour is filled with nudity yet everything is given a sexual dimension from the quiet demurs of a housewife's diligent sewing to the firm coaxing of Severine's madam (Page).The film in its initial run was no doubt helped at the box office by the presence of Catherine Deneuve, whose performance in The Umbrellas of Cherbourg (1964) and followup work in The Young Girls of Rochefort (1967) have made her an international star. What brought her to Belle de Jour and Bunuel is a bit of a mystery but unlike some of Bunuel's leading ladies in other films, Deneuve is quite simply irreplaceable. She walks a razor-thin tightrope between dignity and depravity encompassing the troubling idiom "angel in the kitchen, whore in the bedroom" yet on her own terms. No doubt a lesser actress would fray to Bunuel's wearisome demands but with Deneuve it's hard to tell who's really controlling who. Keep in mind in several instances Severine fantasizes about being raped, beaten and whipped in dream sequences Deneuve had to perform. Anyone who can keep their dignity while being pelted with mud like that is certainly talented beyond most.Unlike the equally engaging Viridiana (1961) and The Exterminating Angel (1962), Belle de Jour is at once more collaborative and more personal. Personal because the film certainly indulges in naked and prurient interests of the director. Yet collaborative because he's found an actress willing to explore human perversion in a way that goes beyond sharp and blustering mockery. Bunuel and Deneuve would team up once more for Tristana (1970) becoming one of the only leading lady repeat collaborators (a list whose only other inclusion is Silvia Pinal). As a followup, Tristana is certainly angrier yet in its petulance feels less layered by comparison.Anyone intimidated by the expansive and critically irreproachable filmography of Luis Bunuel should seek Belle de Jour as an introduction. The film lies on the nexus between popular appeal, art-house, thinking-man's proclivities and the director's particular brand of madness. Furthermore, Catherine Deneuve is a game collaborator who at times steals the film to add some tasteful meta- text. Gloriously sexy, defiantly surreal and presented in luscious color for the first time in Bunuel's career, Belle de Jour is a must see for film fanatics.

A frigid young housewife (Catherine Deneuve) decides to spend her midweek afternoons as a prostitute.Catherine Deneuve is one of the European greats. Americans (myself included) are not familiar with many foreign actors or actresses, but she is one that was able to break through into our world, and without even having to speak English (though that often helps). She is as good here as in anything she has done.Being a Bunuel film, it is a bit surreal, a bit odd. The story is more or less straightforward, except that various scenes blend fantasy and reality, dream and real life. Not as strange as some of his stuff, but still odd enough. The man with the box is especially interesting, and one cannot help but wonder if it inspired Tarantino. Surely, it must have.

Here is the fascinating depiction of a woman so badly damaged by incest that she can't relate to her loving husband and spends most of her time in a world of fantasy, where she is tortured and raped.Catherine Deneuve dazzles as the picture-perfect, emotionally detached housewife suffering aftereffects of abuse by her father. One day she takes her self-flagellation from the realm of the mind to the chambers of a bordello, where it's unattractive johns who slap her around and make her bleed. As if that weren't punishment enough, Belle takes a freelance job in which she lies in a coffin to play the dead daughter of an obsessive incest perpetrator -- "I hope you can forgive me, but I loved you so" -- who masturbates below her scantily clad body.Severine/Belle de Jour admits she doesn't understand why she engages in actions that humiliate and harm her. Her blind acting out eventually claims the life of her greatest supporter -- and at that point it's Severine who has become an abuser herself.The only way she can tolerate this realization is to withdraw once again into the world of make-believe. And now Severine's fantasy is a joyous one. She has healed but is lost to the world. This is an incredibly grim and pessimistic film. When I first saw "Belle" years ago, I could make little sense of it. At last, I think I understand.