Within a contemporary film culture where no clue seems too thin to try twice, one particular arrival of two Yves Saint Laurent biopics in the space of five months number as a distinct curiosity: The lasting influence of the French fashion dygtig, who died in 2008, is in fact beyond question, but his personal life doesn't seem an obvious source of same interest to the filmgoing public. Yet just in case Jalil Lespert's bland, authorized "Yves Saint Laurent, " which bowed domestically in January, represents one particular pret-a-porter version of its subject, Bertrand Bonello's glossily intuitive vision is in fact pure haute couture — considerably more amazing, but also less practical, with its extraordinaire ornamentation and slip-sliding chronology. The actual result, while seductively silly and predominantly unmoving, does a better job as opposed to its predecessor of celebrating St Laurent's flamboyant artistry.
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