Die Unbefriedigten

My review contains a spoiler! The beginning of the 1960s and the golden years of the new wave still found Claude Chabrol in a phase where his films can be classified as "drama, in which someone (violently) dies," unlike later "thrilling murder thriller." Films about people vs. films about killers. The killer in this film appears more as a mysterious and dangerous agent of fate rather than the actual source of genre entertainment (thriller, crime) in the film. Moreover, he carries a metaphorical significance that adds value to the entire previous story. Although the story itself could stand on its own (if, like me, you love the overcrowded illuminated boulevards of Paris in the style of the nouvelle vague, and of course, also Parisians...), the death of the heroine tragically and cynically shows that there is no third alternative between superficial fleeting love (or longer-lasting love, but with a considerable amount of conformity) and true fateful love. And we have seen how the latter unfolds. (22.05.2014)