Title DossierDrame

Dernier amour

DrameHistoireRomance

Au XVIIIe siècle, Casanova, connu pour son goût du plaisir et du jeu, arrive à Londres après avoir dû sexiler. Il rencontre à plusieurs reprises une jeune courtisane, la Charpillon, qui lattire au point den oublier les autres f...

Année

2019

Durée

1h 38m

IMDb

4.9

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Casting

Benoît Jacquot

Director

Vincent Lindon

Casanova

Stacy Martin

Marianne de Charpillon

Casting

Benoît Jacquot

Director

Vincent Lindon

Casanova

Stacy Martin

Marianne de Charpillon

Valeria Golino

La Cornelys

Julia Roy

Cécile

Nancy Tate

Hortense Stavenson

AC

Anna Cottis

La mère de la Charpillon

Hayley Carmichael

Anna

Christian Erickson

Lord Pembroke

Nathan Willcocks

Claremont

Jesuthasan Antonythasan

Jarba

JS

Jean-Chrétien Sibertin-Blanc

Ambassadeur de France

LR

Lionel Robert

M. de Castelbajac

Wolfgang Pissors

Domestique château de Dux

Catherine Bailey

Soeur de Lady Hortense

David Tudor-Glover

Mari de la soeur de Lady Hortense

Alan Fairbairn

Homme bal La Cornelys

RV

Romain Valembois

Homme bal La Cornelys

LD

Lucienne Deschamps

Femme bal La Cornelys

JB

Jérôme Beaujour

Writer

GC

Giacomo Casanova

Writer

Benoît Jacquot

Writer

CT

Chantal Thomas

Writer

Bande-annonce

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Commentaires

6 commentaires

preet SharmaAug 16, 2025

No, I´m not an expert on Casanova. Therefore I did some research after watching this movie. One episode stood out from his life if you ask me. He had a child with his own daughter. I thought that Casanova only had affairs outside his family. I don´t understand or approve of that decision. But all in all I guess that Casanova, above all, was most famous for his love affairs with many different women. And most love affairs have a great amount of romance, passion, seduction and flirtiness. But "Dernier amour"/"Casanova, Last Love" has too little of those feelings in my opinion. I understand that older people usually don´t have the same energy as younger people. But love affairs can contain many different things, not just bedroom stuff. I didn´t regret watching this movie. It has beautiful costumes and some tender moments. But I don´t know if I would want to watch this movie again.

Alphaomar JallowAug 16, 2025

A vision let's say very personal and original of Casanova: weakly charismatic, almost inexpressive, idle, depressed and even suicidal, ... I guess the film evokes a namesake, because even Jean-Claude Dus within Les bronzés font du ski (1979) is definitely more seductive. Except this pathetic and inappropriate non-sense, the costumes and sets are top.

Mahdi🤜🤛Aug 16, 2025

Casanova, "the most powerful man in the world," the adorable phallus, in his mid-years, infatuated with a young woman half his age who doesn't give him enough attention. Isn't this the classical tragedy during all human existence, say from the Bible's King David to the numbers of fifty-year-old divorces nowadays? The sexual power young women have, even the ugliest or less talented one, drives crazy so many men and makes them put in risk their reputation, money, even their own life. Casanova here insists it is more than mere infatuation, and he is correct, his situation is far more complicated than that. What is the truth of his desire then? Is it about some power this particular woman intrinsically has? The movie rightly shows her ambiguously; she is attractive, yes, but also vulgar and manipulative. Therefore, is it something unsatisfying that he sees in himself? Maybe yes. Casanova is a libertine who has built a reputation as a womanizer; he has money, social influences, ex-lovers are fond of him. However, we see him here precisely on the verge of self-humiliation and degradation, risking losing everything just for the sake of receiving care and attention from a love that is impossible only for him. Casanova, "the most powerful man in the world," is the only one who cannot have this woman. This puzzle may be the punishment he unconsciously inflicts on himself, following the legend of Don Giovanni, the quest for moral redemption through self-inflicted spiritual and sexual pain. This movie is a masterpiece, for it shows the moment of realization that all human beings have, at some point, seeing the finitude of their lives. The film is also profoundly humanistic. It shows how and why power relations are complicated and bi-directional, far from what the current MeToo wave of childish self-victimization has popularized in the Anglo-American culture. Script and direction are precise and dynamic here, and the photography is evocative and technically perfect. Actors Lindon and Martin deliver enjoyable parts; they succeed at making this power game vivid and tragic.

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