
Hot Picks 
- 7x7 2023
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La Femme Bourreau
A Woman Kills
France 1968
produced by Jean-Denis Bonan, Anatole Dauman
directed by Jean-Denis Bonan
starring Claude Merlin, Solange Pradel, Myriam Mézières, Jackie Raynal, Catherine Deville, Alain-Yves Beaujour, Velly Beguard, Bernard Letrou, Agnès Bonan, Paul Bonan, Bernard Bonan, Serge Moati, Jean-Denis Bonan, Jean Rollin, Paul Bourron, Gilbert Gibdouny, Annie Merlin, Yves Tollini, Danielle Letellier, Thomas Letellier, Alain Yves Beaujour
written by Jean-Denis Bonan, music by Bernard Vitet
review by Mike Haberfelner
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Paris, the mid-1960s: A wave of prostitute murders shocks the public -
until Hélène Picard, herself a prostitute, is caught pretty much
red-handed with one of her victims. She's tried, sentenced to death, and
ultimately executed. But once she's dead, the murder-spree starts anew,
and again all the victims are prostitutes and are last seen with a
yet-unidentified woman. In a seemingly unexpected story, Louis Guildeau
(Claude Merlin), the very man who executed Hélène, lures Solange Lebas
(Solange Pradel), the very policewoman who investigates the new prostitute
murder spree, to his apartment. She sees through his pretense pretty much
right away, but finds him likeable, charming even, so it's not long before
they become a couple. Everything works out fine for a while, until she
wants to go on a holiday trip but misses the train - and upon returning to
their apartment, she catches him dressing up as a woman, a woman that fits
the description of the prostitute killer remarkably well ... Now
while this film has been finished in 1968, it didn't find distrubution
anywhere until 2014, when it was released in its native France, and is
ultimately released in the US only in 2023 - and that's a bloody shame if
there ever was one as A Woman Kills is nothing short of a hidden gem, a
mix of psychological thriller, police procedural, true-crime mockumentary
and even a bit of love story thrown in, with a pretty action packed
finale, all done nouvelle vague-style, with avantgarde camerawork and
editing and even some political undercurrents. And what's fascinating is
that the film still feels fresh 55 years after its creation because it
perfectly blends the unusual with the entertaining, doesn't follow a
formula or try to stay within genre boundaries, and comes across much less
pretentious than many other nouvelle vague movies of the era. In short, a
great rediscovery that's not to be missed!
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