Bertrand Bonello’s highly stylized look at the final days of a fin-de-siècle brothel in Paris conjures up the languid beauty and frank sexuality of French Romantic painting. Its visual sumptuousness lands somewhere between Ingres and Renoir but with stylis­tic provocations worthy of a time-travelling Baudelaire. In the nineteenth century, much of the Parisian sex trade was confined to grands maisons, populated by elegant madams and a vetted clientele. They were akin to social clubs, with the gentleman participants expected to be as charming and witty as they might be in more respectable draw­ing rooms. The ladies were provocatively dressed and, upstairs, occupied numerous boudoirs ready for carnal pleasures. Even in such a controlled environment, dangers still lurked: disease was rampant and lethal, and sometimes even a gentleman might lose his temper and harm one of the women. via: tiff.net
Pop-upView Separately

Bertrand Bonello’s highly stylized look at the final days of a fin-de-siècle brothel in Paris conjures up the languid beauty and frank sexuality of French Romantic painting. Its visual sumptuousness lands somewhere between Ingres and Renoir but with stylis­tic provocations worthy of a time-travelling Baudelaire.

In the nineteenth century, much of the Parisian sex trade was confined to grands maisons, populated by elegant madams and a vetted clientele. They were akin to social clubs, with the gentleman participants expected to be as charming and witty as they might be in more respectable draw­ing rooms. The ladies were provocatively dressed and, upstairs, occupied numerous boudoirs ready for carnal pleasures. Even in such a controlled environment, dangers still lurked: disease was rampant and lethal, and sometimes even a gentleman might lose his temper and harm one of the women.

via: tiff.net