Catherine Breillat films revolve around the theme of female sexual desire and obviously her point of view is that of a female. Whether or not it can be said that these films have a "feminist bent" is open to debate. I would venture to guess, without having given the topic sufficient thought to say with conviction, that many feminists would have significant problems with Breillat's films. Her point of view is idiosyncratic enough to resist any labeling.

I overlooked this thread and this is no review. But I enjoyed The Last Mistress too much not to comment briefly about it. I walked into the film with reservation about Asia Argento as an actress of sufficient range to tackle the role and I was absolutely proven wrong by one of the most mesmerizing performances of the year.
Some would argue that her being cast in a period film is a type of anachronism. That's going to far, perhaps, as is labeling the film "anachronistic" but certainly there are elements in it one can't possibly associate with the years in which the film takes place. Vellini showing up at the duel dressed as a man has been mentioned. The song performed in the film, in German, was taken from a 1930s film set in the present. It sounds right out of Der Blaue Engel. The Last Mistress has a playful sense of mischief. I loved the way Vellini is introduced, and the bloody closeups. Breillat often skirts camp but barely. Veteran Michael Lonsdale and newcomer Claude Sarraute (as the grandmother) are absolutely perfect. This movie simply made me happy.

Is it a "minor" film? Depends on what you mean. What makes it so?