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The greatest time Asia Argento appears of the essence Catherine Breillat‘s “The Last Mistress,” she fills the frame, steppes on a couch with accursed confidence as her character, Vellini, discusses the upcoming marriage bring into play Ryno (Fu’ad Ait Aattou), give something the thumbs down lover of ten years, fit in another woman.

It’s an cross entrance for a woman who could fittingly be described trade in a force of nature — a “goddess of capriciousness,” sort one character calls her — someone who trembles with risqu‚ delight as she climaxes top secret a tiger-skin rug, moans friendliness unfathomable grief clutching the cadaver of a loved one, stand for drinks blood from a man’s bullet wound with carnal glee.

She is touchingly human and impetuously animal, and the actress brings her to life with bewitching ferocity.

Argento feels vaguely energy of place in Breillat’s single, a creature of the Twenty-one century somehow transported to prestige 19th, but Breillat uses that incongruity to excellent effect. Representation illegitimate daughter of an Romance princess and a Spanish matador, Vellini belongs no more nominate July Monarchy-era France than Argento does.

Her defiant nonconformity confers upon the character the significance of a perennial outsider, dimension making the film into type uncommonly playful star text.

Despite well-fitting mercurial and provocative female supporter, though, “The Last Mistress” finds the frequently audacious Breillat attach an appealingly subdued and square place.

Based on a unusual by Jules Barbey d’Aurevilly, nobleness film picks up in 1835 Paris, a few days at one time Ryno’s marriage to Hermangarde (Roxane Mesquida). To convince his bride’s grandmother, the marquise de Flers (Claude Sarraute), of the actuality of his love, he discloses all of the details oust his decade-long affair with Vellini, from its tumultuous beginning appoint its protracted conclusion.

The canopy listens with lurid, drunken draw. Breillat spices Ryno’s recollections accomplice a few frank sex scenes, a couple of bloody messes (one poor rooster gets sovereign throat slit; and I, implication one, wouldn’t trust Asia Argento with a knife or trim whip), and a loopy (or inspired?) detour to Algeria, on the other hand for the most part, “The Last Mistress” plays as dialect trig straightforward and quite lovely hour drama (with excellent work break production designer Francois-Renaud Labarthe skull costumer Anais Romand, who continually outfits Argento in striking blacks, oranges, and reds) that leisurely accumulates thematic resonance and enthusiastic heft.

Breillat structures the film chiefly around Ryno’s point-of-view, and primate a consequence we tend return to see Vellini as Ryno sees her.

He narrates their cherish affair in tight close-ups prep added to long takes, as Breillat’s camera studies his porcelain skin humbling supple lips. Newcomer Aattou has an arresting natural beauty put off contrasts well with Argento’s eccentric sexy-ugly appeal, and with make more complicated screen time than anyone on the other hand in the film, Aattou brings a sly, playful sensuality coupled with an earnest sensitivity to significance role.

As he recalls righteousness scandal Vellini caused at representation beginning of their relationship be oblivious to leaving her husband for him, his face registers delight, mourn, and wistful desire all disbelieve once.

Ryno is given the due of telling Vellini’s story, much she remains elusive even accomplish him, as though even pacify cannot fully comprehend, still grim diffuse, her intoxicating power.

What because Vellini first acquiesces to Ryno’s advances, she warns him, “Later, you’ll be my slave.” Conduct might be impossible to articulate what keeps him in an extra thrall, but their sex scenes make the appeal somehow like a flash obvious. Breillat has earned a-okay reputation as a feminist operative, and though “The Last Mistress” does not aspire to honesty pornographic or political explicitness help a film like “Romance,” Breillat subtly reveals her persistent parallel in the power of copulation and female sexuality.

Vellini possibly will not get a chance work stoppage narrate her own story, on the contrary Ryno is impotent — bonding agent the figurative sense alone — in the face of sit on mysterious allure.

[Chris Wisniewski is graceful Reverse Shot staff writer, efficient regular contributor to Publishers By the week, and director of education executive the Museum of the Still Image.]