The Vuillard family gathers: Junon and Abel, a daughter Elizabeth and her son Paul, Henri and a girlfriend, Ivan, his wife Sylvia and their young sons, and cousin Simon. Six years before, Elizabeth paid Henri's debts and demanded he never see her again or visit their parents' home. Paul, at 16, has mental problems and faces a clinical exam. Junon learns she needs a bone marrow transplant if she's to live beyond a few months: thus the détente bringing all together. Two family members have compatible marrow, but the spats, fights, cruel words, drunken toasts, and somewhat civilized bad behavior threaten all; plus Junon may simply refuse treatment. Do we know ourselves?
Infused with a sumptuous elegance, Catherine Breillat's eerie retelling of the Charles Perrault fairytale Bluebeard is very sensual and highly stylized while adhering to an almost literary interpretation of the story. Shown at the Vancouver Film Festival, the film operates on parallel levels, both involving two sisters. In the first story, two young sisters play in the attic of their home in France in the present time. Catherine, who according to Breillat's autobiographical material, represents the director, plays power games with her older but more withdrawn sister Marie-Anne by tormenting her with readings of the classic horror story "Bluebeard".
Souvent les contes des fées prennent comme personnage central des sortes de serial killer d’enfants : ainsi en va-t-il des Ogres.
Mais Barbe-bleue en est la figure emblématique. C’est aussi dans les années 50-55 le conte préféré des petites filles modèles.
C’est le cas de Catherine, elle adore effrayer sa grande sœur Marie-Anne en lui lisant obstinément le conte jusqu’à ce qu’elle pleure.
En même temps Catherine se projette dans le conte, elle y devient la princesse Marie-Catherine, la dernière femme de Barbe Bleue, celle qui ne rejoindra pas les femmes pendues qui l’ont précédée. Parce qu’elle, elle est la princesse vierge que l’Ogre ne peut se résoudre à tuer.