La Bête (1975), directed by Walerian Borowczyk, remains one of the most controversial films in the history of French cinema, and for good reason. An unsettling blend of horror, fantasy, and eroticism, the film challenged societal norms by confronting the taboo subject of bestiality, while also exploring themes of sexual repression and the dark recesses of human desire. While its provocative subject matter may have shocked audiences at the time, La Bête‘s impact on the fairytale genre is undeniable, as it distorts and dismantles the traditional, innocent imagery typically associated with fables.

The film’s plot centres on a young woman, played by Sirpa Lane, who is sent to an isolated mansion to care for a family member, only to discover that the house’s bizarre and sexually charged atmosphere hides a deeply unsettling secret. It is there that she finds herself drawn into a surreal and grotesque relationship with a monstrous beast, played by the infamous animal actor, the titular “beast.” The beast’s primal instincts are interwoven with the protagonist’s sexual awakening, creating a narrative that is both disturbing and strangely hypnotic.

One of La Bête‘s most striking features is how it blends the fantastical with the grotesque, challenging the audience’s expectations of what a fairytale is supposed to represent. In a genre traditionally known for its innocence, purity, and moral lessons, La Bête flips the narrative on its head, replacing magical creatures and romantic ideals with sexual depravity and psychological torment. The fairytale-like setting—lush, lavish, and seemingly enchanted—becomes a place of perverse fantasy, where innocence is stripped away, and dark, hidden desires come to light. The sexualization of the beast and the protagonist’s complex relationship with it force the viewer to confront uncomfortable questions about the nature of desire, fantasy, and the human psyche.

At the heart of the film is its exploration of sexual repression. The characters, both human and animal, seem locked in a struggle with their desires, attempting to navigate the constraints imposed by society, and by their own identities. The beast, though monstrous in form, is portrayed as a creature driven by raw, unfiltered lust, a force of nature beyond human control. The woman, in contrast, is initially portrayed as a character torn between fear and fascination, unable to suppress her own desires, despite the taboo nature of the relationship. In its own strange way, La Bête highlights the violence inherent in both human and animal instinct, suggesting that society’s repression of such instincts can lead to horrifying outcomes.

However, it is this very subject matter that also invites criticism. The film’s depiction of bestiality, while artfully filmed and purposefully provocative, can be difficult to watch. The boundary-pushing nature of the film has drawn its fair share of ire over the years, with some arguing that it borders on exploitation. Whether La Bête’s treatment of its controversial subject matter is exploitative or merely an exploration of human sexuality’s most forbidden corners is open to interpretation, but what remains clear is that Borowczyk’s approach was undeniably daring.

The film’s visuals are haunting and surreal, filled with long, lingering shots of the beast, the protagonist’s vulnerable expressions, and the haunting, otherworldly beauty of the mansion. The lavish, often dreamlike atmosphere creates an intoxicating mood, one that’s simultaneously erotic and nightmarish, as if the fairytale itself is slowly being suffocated by darker forces. The performances, particularly from Sirpa Lane, manage to convey both the fragility and complexity of her character, even in the most uncomfortable of situations.

La Bête is a deeply unsettling film that works on multiple levels—visually, emotionally, and intellectually. Its exploration of taboo desires and its subversion of the traditional fairytale makes it an unforgettable piece of cinema, though one that is not for the faint of heart. While its controversial content may overshadow its artistic merits for some viewers, there’s no denying that Borowczyk’s audacious approach remains a unique entry in the genre. La Bête is both disturbing and beautiful, and it forces the audience to confront the darker aspects of human sexuality in a way few films have ever dared to do.

Ultimately, La Bête is a bold, fascinating work that demands a careful, critical eye. It may not be for everyone, but for those willing to engage with its challenging themes, it remains a haunting exploration of desire and the grotesque.

• Saul Muerte