In 2044, where artificial intelligence reigns supreme, human emotions are deemed a threat. Gabrielle must embark on a journey through her past lives as part of a mandatory DNA purification process. A film by Bertrand Bonello, starring Léa Seydoux, George MacKay, Guslagie Malanda, Dasha Nekrasova, Martin Scali, Elina Löwensohn, Marta Hoskins, Julia Faure, Kester Lovelace, Félicien Pinot, and Laurent Lacotte.

In 1910 Paris, Gabrielle Monnier (Léa Seydoux), a famous pianist, is married to Georges (Martin Scali), a wealthy businessman who owns a doll factory. At the French Salon, while Garielle is looking at a painting, a man named Louis (George MacKay) approaches her and asks her opinion about it. He then asks if she remembers meeting him before, following the performance of Madame Butterfly at a dinner party three years ago in Rome. Louis describes her being with her aunt and uncle, and wearing a dark green dress with a chignon.

The French Salon was an annual exhibition of the best French art that originated in the 17th century. The first true “salon” was held in 1610 by Italian-born French aristocrat Catherine de Vivonne, the Marquess de Rambouillet, as a literary event where ideas about books, art, music, and philosophy were shared. The term “salon” was not used prior to the 18th century, but the concept of these private gatherings hosted by aristocratic women became popular in Paris from the early 17th century. By the 19th century, the Salon was one of the most important cultural centers in France, reaching the peak of its influence between 1784 and 1890. It was the arbiter of what was considered high art and good taste in France for almost 200 years.

Madama Butterfly, also known as Madame Butterfly, is an opera in three acts by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa. The opera is set in Nagasaki, Japan, in 1904 and tells the tragic tale of Cio-Cio San, a young Japanese geisha who falls in love with American naval officer Pinkerton, only to be abandoned and ultimately led to her downfall.

Gabrielle remembers him, and corrects his details of their meeting; it was in fact six years ago, in Naples. And that she was with her mother and brother. She then teases him that he doesn’t remember her at all. Louis claims that he may be a little vague about the details but he definitely can remember her clearly because she told him something that is impossible to forget. Initially, Gabrielle pretends that she doesn’t know what he’s referring to, because she can’t recall that she’s ever told anyone about it. Louis then asks her if it actually happened.

Gabrielle reveals that Louis is the only one who knows about her greatest fear. Louis assures her that he has never told anyone about it. Gabrielle then asks him to tell her about their conversation that day, what exactly did she tell him. Louis tells Gabrielle that she talked about something she felt when she was very young. A feeling of doom, that a strange, rare and terrible thing would befall her. She strongly believed that it would eventually strike and obliterate her. Louis mentions that Gabrielle also said that she didn’t want to get involved in a relationship because she was convinced that a hidden beast would appear and destroy everything both in and around her.

The film flashes forward to the year 2044, when artificial intelligence has taken over most jobs in the world with a staggering 67% unemployment rate. Feeling aimless in her current job where she routinely reads the temperature of data cores, Gabrielle seeks a better opportunity through an AI interview. However, AI deems most humans useless due to their emotions, assigning them to mundane jobs which emotions have no impact on results.

To qualify for a better job suited to her skills, Gabrielle must undergo DNA purification, which involves reliving her past lives. The AI explains that DNA purification will cleanse away old traumas inherited over centuries, effectively purging her consciousness of these negative influences. Gabrielle confides in AI that she has a very deep-seated feeling that something terrible will occur, some kind of disaster, and that she’ll have to face it even if it terrifies her. AI assures her that nothing bad can happen during the process, as fear is one of the emotions that will be purged in the DNA purification. The scene we saw earlier is part of this procedure, where Gabrielle explores one of her past lives in 1910.

As Gabrielle leaves the interview room, she encounters Louis who comes for the interview but he loses his direction in the building. Gabrielle immediately recognizes Louis as she knew him in her past lives. However, in this life, they both just meet for the very first time. Gabrielle points him to the interview room, and excuses herself to go to work.

One night in 1910, Gabrielle is terrified by a pigeon entering her music room. Louis takes Gabrielle to see a clairvoyant about her premonition. The clairvoyant (Elina Löwensohn) warns her about the beast, and about a pigeon. The pigeon often refers to a representation of the Holy Spirit, a messenger, and a good sign; however, if it enters her home, it means someone is going to die that could be Gabrielle or someone close to her.

The clairvoyant also mentions a cryptic message of a man who can only make love in his dreams, and a catastrophe that would destroy everything caused by Gabrielle’s hesitation. At home, Gabrielle thinks about the clairvoyant’s words, as she becomes reclusive and depressed. She decides to leave her beloved husband, writing a letter explaining how she feels, and put it in Georges’ working desk drawer.

During the 1910 Great Flood of Paris (Crue de la Seine de 1910), Gabrielle accompanies Louis for a tour of the doll factory. While they are in the display room alone, Louis confesses his love for Gabrielle, but Gabrielle is too afraid to reveal her true feelings about him. As all the workers have gone home for the day, the flood seeps inside and floods the factory.

Paris experienced a catastrophic flood in January 1910, known as the Crue de la Seine de 1910. Winter rains from the Seine’s tributaries caused the river to overflow, inundating the urban area. The flood began on 21 January 1910, and the water level reached its highest point on 28 January, at 8.62 meters above normal levels. The flood waters infiltrated the city’s sewer system and subway tunnels, causing widespread damage. Half of the existing metro network at the time was flooded and had to be closed. To continue moving around the flooded city, residents had to travel by boat or across wooden walkways built by government engineers and civilians. The Great Flood lasted for nearly two months. In total, it is estimated that the flood caused around 400 million francs (equivalent to $1.5 billion in 2024) in damage.

The circuit breaker shorts and breaks into flame as the highly flammable materials used in many of the dolls ignite. By the time Louis and Gabrielle realize the factory is on fire, the flames already block all the exits. In a desperate attempt to escape, they decide to dive through the 15-meter long hallway of the flooded gallery downstairs. Unfortunately, the exit door is bolted shut, and they both tragically drown.

In another life in 2014, Gabrielle is a struggling actress auditioning for a modeling job. There, she meets Dakota Mill (Dasha Nekrasova), a model who refers Gabrielle to a plastic surgeon who could help Gabrielle improve her appearance. Gabrielle also works as a house-sitter for an owner who pays her $1,000 a month. Later, Dakota invites Gabrielle to Fractal, a club on Hollywood Boulevard, saying that she will meet Gabrielle there at midnight.

In this life, Louis is a creepy man who films himself and posts on his social media, complaining about how his life is miserable as he is unable to get a romantic or sexual partner despite desiring one. He notices Gabrielle leaving Fractal club and stalks her to the house she’s looking after. Frightened by an earthquake, Gabrielle flees the house. Outside, she sees Louis standing there, oblivious to the fact that he’s been lurking around all night. Gabrielle invites him to the house, claiming that she is afraid to be alone after the earthquake. Louis declines her invitation despite Gabrielle pleading; he claims that he’s afraid that he would do something stupid. Gabrielle’s life in 2014 also ends tragically.

During multiple DNA purification sessions, an android named Kelly (Guslagie Malanda) is assigned to assist Gabrielle. Kelly takes Gabrielle to a club in an unnamed building with a glowing neon sign “1972” hanging on the side. The sign changes each time Gabrielle visits; it indicates the music era the club is currently playing. There, Gabrielle meets Louis again.

Both Gabrielle and Louis are drawn to each other. This time, Gabrielle resolves to be honest about her feelings for Louis and wants to move forward developing a romantic relationship with him. However, Louis asks her to wait for a few days, to which she agrees.

An AI shows Gabrielle a series of images depicting her past traumas, including a vision of her own death. These are supposed to be emotionally neutral experiences for someone whose DNA purification is complete. However, Gabrielle reacts emotionally. Since the process has a 0.7% chance of failure, the AI concludes that Gabrielle’s purification failed and she cannot pursue her dream job. On the contrary, Gabrielle feels a wave of relief. Her emotions are still intact, which means she can finally develop a romantic relationship with Louis, her soulmate.

Written and directed by French filmmaker Bertrand Bonello, and inspired by American-British author Henry James’ novella “The Beast in the Jungle”, first published in 1903 as part of the collection The Better Sort, LA BÊTE is a compelling sci-fi thriller. The film seamlessly blends science fiction, romance, and psychological thriller elements, with the fear of the unknown hanging heavy throughout, fueled by the cryptic pronouncements of a clairvoyant and the nightmarish visions plaguing the characters.

LA BÊTE takes us on a journey through time, exploring the interconnected lives of Gabrielle and Louis across different historical periods. Each iteration adds another layer to their tragic story, showcasing the consequences of their choices and the enduring power of their connection.

Léa Seydoux delivers a powerful performance, embodying the vulnerability and strength of Gabrielle across her many lives. Whether navigating the societal constraints of the early 20th century or grappling with the emotional detachment encouraged in a future dystopia, Seydoux portrays the character’s emotional core with remarkable depth. Her emotional journey is the film’s anchor, drawing viewers into her world of fear and longing.

George MacKay is mesmerizing in his ability to portray characters who seem to be from opposite ends of the human spectrum, further challenged by having to speak fluently in both French and English. In 1910, he’s Louis, a charming gentleman who is full of warmth and tenderness, making his eventual actions all the more shocking. Then, in 2014, MacKay transforms completely into a sinister loner, a chilling portrayal of the incel archetype. His descent into psychosis is palpable, leaving us unsettled by the sheer creepiness he exudes.

Louis is like a recurring dream that keeps appearing in different versions of Gabrielle’s past lives. Although his life is almost a mystery, the film never explicitly explains what he does or where he lives, adding another layer of this character’s enigmatic persona as we are uncertain whether any version of him is truly good or bad.

Cinematographer Josée Deshaies crafts breathtaking imagery, from the flooded streets of 1910 Paris to the sterile, futuristic settings of 2044. Each era has its own distinct visual style.

LA BÊTE (THE BEAST) premiered at Biennale di Venezia on 3 September 2023. The film was theatrically released in France on 7 February 2024.

The role of Louis was originally offered to French actor Gaspard Ulliel, who had previously worked with Bertrand Bonello and Léa Seydoux in the film Saint Laurent. However, after Ulliel’s tragic death in 2022, Bonello felt the role could not be recast with another French actor. He instead sought out an English actor who could learn French for the film’s multilingual script.

George MacKay impressed Bonello and co-star Léa Seydoux during a reading, demonstrating his ability to portray the complex character across different time periods (1910, 2014, 2044) and languages (English and French). Despite being English, MacKay has a talent for accents and an affinity for French cinema, having studied classic French films in preparation for the role.