本片根据30年代真实事件改编，讲一个少女如何从父母的掌上明珠演变成杀害父母的凶手。维奥莱特似乎是天生坏女孩，偷钱、撒谎、卖淫，最后为了继承遗产，居然给父母下毒，结果把父亲给毒死了。

查尔斯的儿子被车撞死，司机不顾而去，他发誓要揪出司机把他送上法庭接受审判。他遇到保罗便认定他是肇事者，然后混入到他家中，暗地里展开他的复仇计划……

1975年，朱丽和她的情人、作家、邻居杰夫, 计划将她富裕的丈夫路易斯杀害。关键他是个酒鬼。 她砸了他, 剩下的事就归杰夫了。第二天朱丽发现自己十分单独, 并且因此成为头号嫌疑犯。 路易斯的身体在哪里? 杰夫在哪里? 难道她有什么不知道的秘密?

Helene Regnier's husband Charles, who is mentally ill, injures their son Michel in a rage. Charles moves back in with his wealthy and manipulative parents, who blame Helene for their son's condition and vow to win custody of Michel. While the boy is in hospital, Helene rents a room in a boarding house nearby. The Regniers hire Paul Thomas, a family acquaintance who needs money, to find dirt on Helene before the court hearing on custody. Paul moves into the boarding house and, with the help of his girlfriend Sonia, who rarely wears clothes, plots to ruin Helene's reputation and then her very life.

影片讲述郊区小镇上的一名男子，跟他的情妇（同时也是好朋友的妻子）玩性虐待游戏时不慎杀死对方，之后难以忍受自我谴责而准备投案自首，但周遭的人（包括他的妻子和朋友们）都不愿接受这个事实。

为了阻止一起房产交易，一个医生、一个屠夫和一个公证人需要购买一处属于这个邮差和他母亲的房子。问题是这个行为古怪的邮差在送信钱都阅读每个人信件。一旦他了解到交易的细节，他决定不管该市民去到多远，他都不会让任何人在他的房产销售上满意的赚钱。

绰号老虎的国家安全监督局（D.S.T）前军官接受了一项任务,保护一位土耳其部长.部长担负着签署协议的重要任务,从而给他带来了巨大的威胁.当老虎知道他还要保护部长迷人的夫人和她诱人的女儿时,他的任务顿时变得有趣起来

夏布洛尔身为法国新浪潮中坚力量，将此片《爱丽丝最后的逃离》的氛围渲染涂抹得紧张不安悬疑十足，大量不和谐的音符充斥在变异的空间里，制造了一种超现实的迷离气氛，焉知真假难辨是非。
影片开始，眼中只有自我的男友躺在地板上侃侃而谈，完全不理会爱丽丝欲言又止的目光，直到爱丽丝宣布分手消息，他才醒悟然又迷惑，通常男人认为女人提出分手的原因多数是有了新欢，然而爱丽丝微笑着告诉他非也，或许这个不是理由的理由，通常最让男人不解，也是最决绝的，此事女人的自觉意识一旦复苏，没有什么可以阻止她走上娜拉之路。
可惜这位娜拉出师未捷身先死，在大雨中遭遇车祸香消玉殒，临死之前执念未消壮志未酬，心里幻象四伏、脑中波涛汹涌，于是一出灵肉濒临分离前夕的荒诞剧开场了。爱丽丝驾车漫游在荒野雨景，突见一座城堡，一贵族老者殷勤招待，次日醒来老者与仆人皆不见，但有早餐为之备齐；惊讶之余，爱丽丝留下感谢继续前行，然绝望地发现绕路前行，不过是做重复的循环圆周运动，突空降一温文尔雅男子，告诉她别问任何问题，作抱臂围观状；爱丽丝只得又回到城堡，外面草地上一个少年，同样警戒她别发问，并为她捉来一只小鸟；面对越来越诡异的局面，爱丽丝再做努力，开车到一加油站，同样遭遇诡异，窗外偷窥的一男扮女装的少年、舞会上行将就木的老人突然复活；接着场景再次切换到开始时的雨夜，贵族老人早已恭候于此，时间转了个圈又回到了原地，一切和最初无异，老人告诉她，这是一个游戏，游戏规则就是不许发问，同时也告诉她，别妄想离开此地，不过明早可以通过一扇她觊觎已久、怀疑已久的小门，回到真实世界。
当然，后来我们看到爱丽丝并未如愿回到现实，她在清晨第一束阳光射进屋子，一步一步走向小门时，她的身影隐在黑暗里，同时镜头切换到车内她死去的脸庞，梦魇和真实终于接轨，亦完成循环的概念。
本片有很多隐喻。她负气离开自大男友，潜意识里希望有个如父辈的长者来安慰她，给予她一个温暖平和的港湾；温文男子在她需要帮助时并未伸手，女人要看到墙外风景，仍需自己付出努力，即使墙外不是理想情景；少年为她捕获的鸟在玻璃上扑棱，象征她在男性角色充溢的城堡里，只能作徒劳反抗，最终仍和她一起倒在倾斜的地板上。
仆人对她说过两句意味深长的话“夫人，我们这里不太在乎时间。”钟摆充当了一个很重要的道具，一旦她进入“虚幻”世界，钟摆便停止摆动，一旦她脱身来到“真实”，钟摆又恢复工作，这段缺失的、凝固的时间在摆动之间被定格；另一句是“如果你想翻过墙，你就做得到”，人通常在柳暗花明前的最后一刻放弃到手的光明，只因一时的恐惧，因此永远难以逃离的，是自己禁锢的内心、恐惧的意识、自身的软弱，因此爱丽丝至死都无法逃离，女性的悲剧宿命，娜拉离家后的续集故事之开放结局之一。
片名命为《爱丽丝最后的逃离》，是否变异自《爱丽丝漫游仙境》，只是这位爱丽丝的神游终以流离失所告终，从车后紧紧跟随的全景、窗外镜头的推进，无时不让观者感觉到框外摄影机的偷窥，无时不强调着画外人的第三只眼地位，或许这是新浪潮的另一大特色吧，我又要举格里耶《嫉妒》的例子了，这个上帝视角即为老者口中“游戏”的制造者，虽然这一切只是爱丽丝一缕香魂袅袅抵达天庭时的海市蜃楼而已。

由法国著名女影星伊莎贝尔·于贝尔主演，她在片中饰演地方官让娜·夏尔芒，她受命调查一桩涉嫌挪用公共资金的复杂要案。案件渐渐对一家大企业产生可怕的影响，而她则渐渐认识到自己权力的重要性———然而，她的私人生活却也因此陷入了危机。

Leda, the flirt of Monsieur Marcoux is murdered. His wife and the police think, that the murderer was the milk-man, the friend of the maid, but Marcoux' daughter's fiance Lazo, who is aware of the corrupt situation in that family doesn't agree with them. Written by Stephan Eichenberg {eichenbe@fak-cbg.tu-muenchen.de}

影片《双面娇娃》改编自1906年纽约的一个真实案件，著名建筑师斯坦福·怀特（麦迪逊广场花园的设计者）被谋杀，凶手是一个曾与怀特太太有染的年轻百万富翁。嫉妒与精神失常是这场惨案的起因，也是一个世纪后夏布洛尔拍摄此片的灵感来源，写出一个发生在里昂的“真实的心理故事”，一如既往的揭露上流阶层中隐含的虚伪堕落和犯罪欲望。年轻的女气象预报员加布里耶尔（露德薇·莎内Ludivine Sagnier饰）在摄影棚邂遇比她年长30多岁、已婚但崇尚性自由的名作家查里·圣-德尼（贝朗François Berléand饰）并且爱上了他。她的身体和心灵属于两个不同的男人：一个衰老古怪的著名作家，和一个年轻失常的百万富翁。虽然她嫁给了后者，可随之而来的却是意想不到的犯罪。
夏布洛尔平均每年执导一部影片，无论褒贬，都能成为当季节法国影坛的焦点。去年由于《权力欲望》而颇受好评，今年此片也自然成为了暑假期待的又一部力作。此片的关键人物女孩加布艾尔，由法国新生代女星露德薇·莎内扮演。按照导演的设想，她的戏份最重，既要在两个男人之间周旋，充分展示出“双面”的性格，又要让观众认可她的幼稚和无辜。能得到夏布洛尔的点拨，对于刚刚凭借《八美千娇》和《情歌》走红的莎内来说，无疑是个绝佳的学习机会。 （转自《欧洲时报》）

法国安全部的特工路易，绰号“老虎”他受命去调查法属殖民地皮特尔角城可能发生的政变危机，他按约和“美国船长”接头并搭乘他的船去该城，不料中途遇到预谋的袭击，一船人都被谋害，只有路易和同伴苏舒侥幸逃脱，他们顺着海浪漂到了皮特尔角城开始着手调查阴谋

保险业高管查尔斯怀疑他的妻子海琳在玩游戏，所以他让一名私家侦探找到了他妻子的情人、作家维克多·佩加拉。

本片以法国中产阶级为背景讲述了政治暴力和恐怖，讥讽了政府的伪善和无能。纳达是一个法国的小型恐怖主义组织，成员都是无政府主义者，他们计划将美国大使从妓院绑架到巴黎并将他囚禁起来，以便换取赎金。然而法国政府并不关心被绑架人..

Lucienne Delamare and Pierre Maury are having an affair. Lucienne's husband Paul is the mayor, and a French deputy. Pierre's wife Clotilde has been weak and sickly for years. Lucienne's husband holds no excitement for her, and he is always away in Paris on business. Pierre is now the vice-mayor, thanks to Paul. Lucienne and Pierre have a secret meeting spot by a lake along a country lane. Pierre's wife dies suddenly, by suicide the town gossips believe. Pierre confesses otherwise to Lucienne. Paul proposes a shady land deal which will "benefit the town", and wants Pierre's political support and collusion. Then Paul discovers proof of his wife's affair...

根据艾利瑞·克恩同名小说改编。性格孤僻的富豪戴尔和他的年轻的妻子爱兰娜生活在一起。养子夏拉是个雕刻家，总是产生自己谋杀过别人的幻想。爱兰娜和夏拉有一段私情，这使得他们陷入了一场可怕的阴谋。他们的朋友保尔非常理智，但是也卷入这一串神秘的事件中。最后，一切终于真相大白。导演精心安排呈现给观众一部处处充满悬疑、扣人心弦的影片。

The movies Claude Chabrol made in the first ten years of his career are vastly underrated nowadays with the film under review being, arguably, the most obscure of the lot; admittedly, LES GODELUREAUX – an unwieldy single-word title if ever there was one (literally meaning "the popinjays") – could not have endeared it much to audiences. Consequently, it seems rather hard now to believe that Chabrol's more renowned colleague at the "Cahiers Du Cinema", Jean-Luc Godard, once named it among "The Top Six French Films made since the Liberation"(!) alongside Robert Bresson's PICKPOCKET, Jean Cocteau's LE TESTAMENT D'ORPHEE' and Jean Renoir's LE TESTAMENT DU DOCTEUR CORDELIER (all 1959)!!
Thematically, the film is basically Bresson/Cocteau's masterful LES DAMES DU BOIS DE BOULOGNE (1945) reworked for the "New Wave" set – though the revenge this time around is triggered by a petty incident between strangers, making the whole scheme an even more cynical one. Apart from the director himself, the film also finds some choice performers at somewhere near their best, notably the two leads: Jean-Claude Brialy (genuinely Mephistophelean, he displays a remarkable flair for melodrama throughout) and an entrancing Bernadette Lafont (peerlessly epitomizing earthy sensuality) – though some, like the reviewer of the "Films De France" website, actually felt their characters to be caricatures! Equally imperative to the success of the film is Jean Rabier's glossy black-and-white camera-work, a typically fine score by Pierre Jansen and also a clever use of overlapping sound (actually one of the revolutionary cinematic techniques characteristic of the French "Nouvelle Vague" movement).
The plot – oozing with the hedonistic/nihilistic outlook of Chabrol's regular scribe Paul Gegauff – sees the seemingly bisexual bourgeois fop Brialy sending out coquettish seductress Lafont to attract the attention of a young man (well-played by virtual unknown and future director Charles Belmont) who had spited him at the very start of the film. Subsequently, the newly-minted trio becomes virtually inseparable ensuring an invasion of the latter's domestic life (which embarrasses him no end, since he is still in the custody of a strict and wealthy uncle) – as much as they force him into their own private chaos (which involves not only an omnipresent homosexual valet by Brialy's side but a nerdy soon-to-be-wed cousin whom Lafont has no qualms about seducing in front of her current boyfriend, Belmont)!
Although at one point a ménage-a'-trois between the three leads is implied, some of their shenanigans are fairly harmless – such as disrupting an art exhibition with the dissemination of sneezing powder, or an upper-class soiree' by incorporating into the program both a sultry dance (performed by none other than a dark-haired Stephane Audran!) and an eccentric ditty sung by a pathetic ex-vaudevillian lady. However, the bacchanal in the style of Ancient Rome, togas and all – held at Belmont's house, having charged Lafont with its upkeep while he is away on business (in the same vein, Luis Bunuel's contemporaneous VIRIDIANA [1961], would feature a famously blasphemous parody of Da Vinci's "The Last Supper") – has more severe repercussions; this sequence is cleverly, and amusingly, cross-cut by Chabrol with the most formal of restaurant dinners being consumed by the oblivious Belmont and his uncle!
Eventually, the schemer feels vindicated and confesses to having taken the young man 'for a ride' and that Lafont (whom the boy had genuinely fallen for and was even planning to marry) had been his tormentor's mistress all along. However, in keeping with the film's darkly humorous tone (boasting a couple of bona-fide howlers along the way), the coda shows that, though obviously broken-hearted at first, Belmont has picked himself up by the time we next see him a year later and is consoling himself with a plain-looking girl; in fact, running by chance into Lafont on a pier, it is rather the latter who is unable to mature – being seemingly involved in yet another romantic scam (with a high-ranking Naval officer, no less)…

The opportunistic owner (Yvonne Furneaux) of a champagne factory enlists the help of her husband (Anthony Perkins) in convincing her mentally unstable business partner (Maurice Ronet) to sell the rights to his famous last name. Soon a mysterious rash of murders occurs, with Ronet the prime suspect.