To me, this movie is perfection.

Slow pace in the most part of the movie.

Excellent, Without a doubt!!

It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Before I review the film, I should point out that Audrey Tautou does NOT star in this film despite DVD covers that show just her on the cover. In the film, she works at the Venus Beauty Salon but the film actually centers on Nathalie Baye and her rather bizarre life. Ms. Tautou is clearly a supporting actress, but following the amazing success of her film "Amélie", unscrupulous people changed the box art to make it look like it was a starring role for her. For her part, however, he is probably at her most radiant and sensual.As for the film, it's about period of several months in the life of Baye. Baye plays a middle-aged sexually compulsive woman who loves casual sex but is deeply afraid of a deeper commitment. A strangely compulsive younger man suddenly begins stalking her--announcing that he loves her even though they had never formally met! In the midst of this very screwed up relationship, you see the co-workers in their relationships, though these are never explored in the same depth as Baye's.If you are looking for some depth or meaning in this film, I sure couldn't find any. While some might see Baye as a "work in progress" and by the end of the film she's finally found happiness, this isn't clearly established and based on her life so far, this seemed unlikely. I certainly hope nobody sees this film and thinks Baye is a role model or even particularly likable. However, it is a well done portrait of a very flawed woman and the acting is very good--just not particularly pleasant.By the way, there is quite a bit of explicit nudity in this film, as one of the customers is an exhibitionist. Adults should consider this before showing the movie to kids.

I enjoyed this film in ways that made me indirectly think of HBO's "Sex in the City." Not just for the frank discussions, nor for the fact that I preferred the women just talking amongst themselves (coworkers together, and also coworkers with clients) rather than interacting with the men in their lives..."Sex in the City" flipped more than a few stereotypes, and in "Venus" we find the lead character a woman who has grown weary and too jejune for "je taime". She's not so much in a state of despair as one of dispassion. We see men in films like this...and watch as somehow they are wooed back to vivaciousness, but not often do we see similar women.I mean, I don't *really* think Stella ever lost her groove, it was more like she knew it was under the blankets on the floor. But Nathalie Baye's fallen Angele is past searching for Mister Right, she's hooking up with a series of Monsieur Wrong Nows. Light spoilers follow...I'd recommend seeing this film, and I would echo what another reviewer stated, this probably will be appreciated by a slightly older audience. Or more honestly, by jaded types of any age!For other reviewers here and elsewhere who seem to take a tack of, "Why, I'd never..." Um, even if you swear on a stack of Emily Post's books, still I think if your husband cheated on you and you accidentally shot him in the face, who knows...you might. And more to the point, maybe you should... Mishima liked his women to have a flaw, although he was more partial to a physical one to set off the pure beauty...the same axiom can be applied to personality traits. So lighten up and embrace your dark side. Just don't shoot anybody...Anyways back to this film, there are also nice touches of humor throughout. A lot actually. And poignant scenes too, such as when Angele talks to a girlfriend not from the salon. I really liked the open dialog between those two, their blunt assessments of each other. The old dramatic element of visiting one's nemesis under disguise or false pretenses worked as it almost always does; here we see it when Helene comes to the salon.As for the salon itself, well people have talked about its pulsating pinkness. There may be no glass ceiling, but there are certainly glass walls housing them. It makes for a nice dichotomy between women on display, and the actual women inside. Only Audrey Tautou remains under glass even when she's taken out of the shop...in a very steamy, or actually smoky, scene. That scene is doubly voyeuristic, and her *small* role here hits about 11 on the naif scale.Tautou is gorgeous no doubt, but for those of you who spend all your time slow-motioning her strip-tease, you are skipping over the real beauty of Venus, Baye's performance here is a gem...with some defining blemishes. You could draw parallels from her Angele to Kim Catrall's Samantha, I honestly preferred the former. I never thought of the "Sex in the City" fantastic four as remotely real, I did not need to do so to enjoy them. I feel similarly about the Women from Venus. And I only had a one-nighter with them, whereas I saw Carrie and company off and on for years.7/10

Venus Beauté Institut is clearly one of the best films of the year in France, and not due to the fact it won the César as best film; it truly is a good film, contrary to what many people think. For starters the film has an excellent screenplay, and everything fits in quite nicely. It was very well directed by Tonie Marshall, in a simple, efficient and clear way (if you're looking for flashy directing look elsewhere). The story is also quite simple, but anyone (including men) can relate to it, for it deals with the most common human emotions: love, loneliness, friendship, sorrow, and happiness; and what's truly inspiring is the simple and humorous way these emotions have been conveyed. As for the acting, I can only say one thing: what an incredible cast. Nathalie Baye was superb as the lonely Angèle, and the entire supporting cast is excellent: the socialite and oppressive Madame Nadine (Bulle Ogier), the sweet and naive Marie (Audrey Tautou), the troubled Samanthe (Mathilde Seigner), and the breathtaking Madame Buisse (Claire Nadeau). Also, this is not the typical art house French film that many people detest, it is a very simple human statement, wonderfully taken to the screen.I recommend it.

Nathalie Baye is on the screen in almost every scene, and it's never too much. She's outstanding. The supporting cast are also very good. The directing is mostly quite good too. But the real treat is in the story.The main character, Angèle, is a beautician who is afraid to fall in love, because she's been hurt too much in the past. A new man tells her he's in love -- the last thing she wants to hear from a man. She's 40, but the story would have worked for a person of any age. (I saw the movie at a Seattle International Film Festival screening. Director Tonie Marshall told us in the audience that she had Nathalie Baye in mind as the star, and wrote the character to fit her.) But I can't say much more about the main plot without spoilers.While the story is centered on Angèle, there are several other interesting characters, mainly her co-workers (particularly young, innocent Marie) and some interesting regular clients (particularly the comical Madame Buisse).While the story is mainly a romantic comedy, there is some drama. The story does a good job of keeping the comedy and serious drama from running into conflict with each other. And unusual for a comedy, the story doesn't stray from plausibility for the sake of humor, but the comedy is still strong.