
British couple Fiona (Dame Kristin Scott Thomas) and Nigel (Hugh Grant) are sailing to Istanbul en route to India. They encounter a beautiful French woman, and that night, Nigel meets her while dancing alone in the ship's bar. Later, he meets her crippled American husband Oscar (Peter Coyote), who tells him their story. While living in Paris for several years trying to be a writer, he becomes obsessed with a woman he met by chance on a bus. He tracks her down and they start a... (Full plot summary below)
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British couple Fiona (Dame Kristin Scott Thomas) and Nigel (Hugh Grant) are sailing to Istanbul en route to India. They encounter a beautiful French woman, and that night, Nigel meets her while dancing alone in the ship's bar. Later, he meets her crippled American husband Oscar (Peter Coyote), who tells him their story. While living in Paris for several years trying to be a writer, he becomes obsessed with a woman he met by chance on a bus. He tracks her down and they start a steamy love affair. Soon, Oscar finds himself enslaved body and soul by her love, and continues to tell Nigel the details of this relationship in various stages over several visits to Oscar's cabin.
Leave your thoughts about Bitter Moon.
| Chicago ReaderJonathan RosenbaumWith its American, English, and French characters representing the three cultures Polanski has known since he left Poland, it's also quite possibly his most personal film—and certainly his most self-critical. |
| Combustible CelluloidJeffrey M. AndersonPolanski tempers his tale by filtering it through Grant, who receives it with a combination of disgust and fascination. |
| Time OutGeoff AndrewRich and darkly disturbing, it's also wickedly entertaining. |
| Slant MagazineEric HendersonAs easy as it would be to make rude connections between the film’s raunchy shenanigans and Polanski’s own history, the fact is that Bitter Moon doesn’t feel like either an explanation, an apology, nor a defense of the kinky sexual games adults play. Think of it as Polanski’s Who’s Afraid of Virginia Woolf. |
| The Seattle TimesJohn HartlWidely reviled a decade ago, Bitter Moon now plays as a visionary bridging of Brian De Palma's cinematic perversity and Takashi Miike's literal perversity, in addition to being another uncompromising Polanski study of the ways people torture each other. |
| Hartford CourantMalcolm JohnsonAgain, Polanski gives us a deliciously bitter, moonstruck tale of love and sex and revenge and blood, and even the possibility of redemption. |
| Chicago Sun-TimesRoger EbertBitter Moon is wretched excess. But Polanski directs it without compromise or apology, and it's a funny thing how critics may condescend to it, but while they're watching it you could hear a pin drop. |
| NewsweekDavid AnsenRecklessly perched on the edge of the ludicrous, this examination of a destructive erotic passion unfolds with an unsettling mixture of steam and mordant iron. |
| Rolling StonePeter TraversPolanski has great wicked fun with sex, love, cruelty, books, movies and, of course, himself. If you don’t go along with the joke, you’re in for rough sailing. |
| The Globe and Mail (Toronto)Christopher HarrisRecklessly perched on the edge of the ludicrous, this examination of a destructive erotic passion unfolds with an unsettling mixture of steam and mordant iron. |