The film opens at a convent inhabited by Carmelite nuns and focuses on an unknown gentleman with a broody expression and a pronounced limp. The distraught man, General Armand de Montriveau (Guillame Depardieu), seeks solace in the church, which is where he encounters his lost love, Antoinette de Langeais (Jeanne Balibar), whom he has been searching for the past five years. The previously solemn general instantly becomes desperate and impassioned at the sight of the former duchess garbed in the outfit of a nun. At a word from Antoinette to the Mother Superior, a curtain is drawn, prohibiting the lovers from further communication.
The film backtracks five years to reveal how the present circumstances came to pass. The setting transitions from a drab, desolate convent to the glamorous, richly furnished house of the Duchess of Langeais. In stark contrast to a concealing habit, Antoinette is clothed in a gorgeous dress, outshining the rest of France’s high society in attendance at the soirée. The scenery is rich with exquisite detail—the walls glimmer with gold designs and the chandeliers are illuminated with the light of hundreds of candles.
When she first glimpses General Armand de Montriveau, Antoinette is immediately intrigued. For more privacy, the two leave the party and settle onto a couch, where the general captivates Antoinette with tales of his involvement in the war. Antoinette, who is married, cannot help but be drawn to the general, who happily complies with every word she utters. When another couple interrupts his tale, the general prepares to leave, but not before the clearly besotted duchess invites him to call on her the following night.
This seemingly innocent conversation sparks a passionate love affair between the two. The general continues to call on Antoinette, revealing more about his past experiences in the war and falling more in love with the duchess. The handicapped general is an unlikely romantic figure, although listening to his melodic, soothing voice is reason enough for the duchess to risk public disapproval to be with him.
Although the duchess seems to have feelings for Armand, she never allows him to do more than kiss her hand. The mores of society condemn adultery, so Antoinette is content to leave her lover in agony while shamelessly exploiting his hopeless infatuation. Balibar is an enchanting seductress, perfectly comfortable in the 19th century costumes and setting. Her fragile frame is excellently contrasted with Depardieu’s powerful figure; although the general is physically more dominating than the duchess, it is she who is in control of their relationship.
The cat and mouse game between Antoinette and Armand continues for some time, with Armand growing more frustrated at Antoinette’s refusal to leave her husband. However, Depardieu’s composed intensity is only broken during heated arguments between the two lovers, whose chemistry make for incredibly passionate scenes. The general’s limp is actually a result of Depardieu’s motorcycle accident in which he lost his leg. Depardieu, however, doesn’t let this handicap affect his performance; his tendency to stomp heavily around a room only makes the general a more imposing figure.
Rivette does a wonderful job portraying the illicit relationship between lover. Although it gets off to a painfully slow start, the film picks up speed with scenes almost too intimate to witness. By taking his time with the film, Rivette allows his characters to fully develop, making audience members more likely to sympathize with the lovers’ tragic plight.