Kirpianuscus one of films who impress for its message. because it is not exactly a film about racism, prejudices, past or steps of science but about the other's position in society.honest.about cold. a black woman and her shows. the freedom as convention. the show and its nuances. a film who propose not a solution or sides of hidden events. only a start point for understand the manner to use the people as objects. and the complicity of the society to this cruel game.so, the virtue of the film is to reflect a ball of attitudes about the people. the selfish, the cruelty, the greed. who are parts of human nature. the axis of this delicate construction - the performance of Yahima Torres. the pillars - the music, dialogues and the air of the different scenes who becomes almost perceived by viewer. a film who could be useful. not only as historical testimony but as demonstration of a strange form of profound sin .

jotix100 A doctor introduces the audience to what is about to unfold before our eyes on the screen. It is a lecture about an unusual woman who puzzled the scientists of the early XIX century. The subject of the study was a South African native, Saartjie Baartman, a woman of humble origins, working as a domestic help in the home of Hendrick Caezar, an opportunist, who realizes the potential in exploiting Saartjie to unsuspecting European audiences whose appetite for that type of freak shows proved to be a source of making money at the expense of the unfortunate woman.Another member of that circuit, the bear tamer Reaux, realizes the gold mine his friend has. Reaux manages to get Saartjie for his own exploitation. He devises a scheme where he pushes Saartjie into exhibiting her as a freak show for the corrupt higher classes of France, of that time. The bored high society saw in Saartjie an opportunity to satisfy their own perversity and abnormal sex desires, heightened by the presence of the exotic woman who is made to be the object of their fantasies. Ultimately, Saartjie resorts to prostitution, dying in miserable conditions. The ultimate desecration of this woman occurred as Reaux finally sells her body to the medical investigators Saartjie did not want to have them examine her most intimate parts."Black Venus", conceived and directed by Abdellatif Kechiche, the recent winner of best picture at Cannes 2013. The film is a documentary about the tragic life of a woman that attracted attention from people that exploited the physical attributes which she, a rarity for an ignorant public came to see as an aberration, as well as a sexual fantasy. M. Kechiche co-wrote the screenplay with Ghalia Lacroix. It is based on the real story of the South African woman, who finally was recognized as a victim of those who used her for their own benefit, getting rich by selling her as the wild animal she was not. The acting is one of the best things going for the film. Unfortunately, the central figure of Saartjie, as played by Yahima Torres, who appears to be a non professional actress, shows only a limited range of emotions, keeping her one expression, with the exception of her real tears, throughout the film. It probably is unfair to Ms. Torres, but she was in the company of more experienced professionals like the excellent Olivier Gourmet, who as Reaux, is the best thing in the picture. Theactor keeps surprising with every new appearance. Andre Jacobs as Fredrick Caezar manages to convey his hideous nature as the exploiter of the unfortunate woman. Elina Lowensohn makes an impression as Jeanne, the only kind soul Saartjie met in her life.Director Kechiche shows incredible talent and it is apparent he will be a force to be reckoned with in his future endeavors. The cinematographer, Ludomir Bakchev captures the mood of the period in which the action takes place.

eeames This film exuberantly participates in the very abuse it purports to critique, debasing its actors, it audience, and most unforgivably, its subject. There is but one well-composed shot--of Saartjie and a journalist departing in a carriage--otherwise it is chock-full of lazily composed close ups of repulsive people doing repulsive things to an inscrutable, and hence utterly unknowable, totally cardboard, victim--one who can drink, smoke, cry, cough, yes, but what the hell is she thinking?! The director lets us in on nothing--she remains silent, acted upon, never reacting much less actually taking action! The one time in the screenplay that she resists unwelcome scrutiny, her decision is rendered incomprehensible by all the other exploitative events in the lamentable tale--based loosely, very, very, loosely, upon a true life-story. And sorry, but there is absolutely no need to cheapen the depth of the real woman's tragedy by all too simplistically literalizing (the totally un- historical) prostitution of Saartjie Baartman (note: I do not believe this is in any way a spoiler). Wow, I have never hated a movie this much--and I had high expectations because of thefascinating subject and because I very much enjoyed the filmmaker's "secret in the grain" (but for the indulgently long belly- dance) and "the games of love and chance"...but this one is hideously, monstrously, unforgivably, exploitative of a woman who has already suffered enough.

yossarian-heller I couldn't disagree more with those who say that they have been abused for three hours. Yes, the film is hard to swallow; yes, a number of scenes are degrading. But, the plot is not so straightforward as some say.In fact, some characters grow more complex than they seem to be at first sight and there is a distinct gradation in the way people (i.e. : the characters who watch the show, not the spectators in the cinema) react to the exhibition of this woman. It could even be argued that the higher we move in society, the more unpleasant and distasteful their reactions become, to culminate with the absolute callousness of the leading scientists of the time.But discussing the content of the film might lead us to forget its essential quality : it is a stunning piece of cinema and especially so in the most unpalatable scenes. It might be added that, besides the performance of the leading actress, another performer could well deserve an Oscar or a prize wherever that film will be shown : Olivier Gourmet, usually an excellent actor, delivers here a world-class performance (in three languages, mind you!)