飞力，艾丝和女儿Elise过着很快乐的生活。为了保持极乐，飞力决定他和艾丝都可以和其它人有一手, 不过得和对方坦白事情。当飞力嫉火中烧时，计划就事与愿违了，并以悲剧收场。

在法国的一个乡镇，参军15年归来的屠夫保罗与小学校长爱莲娜在一场婚礼上相遇了，他们很快熟络起来。在他们周围笼罩着不知是浪漫的还是危险的气息，他们的感情似乎在升温，镇上却一直传来女孩惨死的消息。保罗追求爱莲娜，但爱莲娜始终言辞闪烁，却也接受来自保罗的好意，直到爱莲娜在一具女尸旁找到她送给保罗的打火机...

菲利普（伯努瓦·马吉梅 Benoît Magimel 饰）是一名成功的房地产经纪人，在一场婚礼上，他邂逅了名为桑塔（劳拉·斯梅特 Laura Smet 饰）的女孩，很快，菲利普就被桑塔身上独特而又神秘的气质所深深的吸引，两人就此坠入了爱河。
一天，桑塔告诉菲利普，希望后者能够用行动来证明自己对她的爱，而这证明爱的行动非常的古怪，那就是为她杀一个人。本以为桑塔是在开玩笑的菲利普之后震惊的得知，桑塔真的杀了一个人，而这个人正是菲利普的一名客人。之后类似的事情接二连三的发生，菲利普开始对桑塔身上的疯狂和黑暗产生恐惧，然而深深的爱着她的他却无法自拔。

这部电影仅仅是由档案图片：四五十年代年和1944年（与职业）播出了对法国电影屏幕，官方的新闻片。这些新闻片被维希政府，这与纳粹合作的控制，所以大部分都是宣传。他们的目的是显示造谣是什么的话，或许更普遍地唤起大众媒体的力量的问题。

"It is the grim story of a young man who gets Shakespearean-style revenge against the uncle who married the young fellow's mother..." ~ allmovie

1938年的巴黎被战争阴云笼罩着，保罗不顾女友海伦的劝阻上前线参战。战争残酷激烈，德军入侵法国，法军投降。海伦赶往前线与法军地下抵抗组织汇合，参加暗杀德国将领的行动，并窃取德军的重要情报。他们化装进入德军监狱，被德军发现……一场激烈的血战展开，保罗带领军队来营救海伦，却深陷敌阵。而此时海伦却与高级将领在房中吃饭……

十三个关于死神死亡的恐怖短片集，以死神翻黑桃扑克牌串联起来。每个故事都会出现一张黑桃扑克牌

雷内（雅克·甘布林 Jacques Gamblin 饰）曾是一位小有名气的画家，却在一场意外中落下残疾，因此失去了理想，害怕与外界社会交流，最终沦为幼儿美术老师。虽然在此过程中，他的妻子薇薇安（桑德里娜·伯奈尔 Sandrine Bonnaire 饰）一直支持和鼓励着自己的丈夫，但随着雷内的个性越来越古怪，他和薇薇安之间的隔阂渐渐开始加剧。
单纯可爱的艾洛蒂是雷内的学生之一，一天，在她告别了老师之后就不见了踪影，当人们再度找到她时，她已经成为了一具冰冷的尸体。因为雷内是最后一个接触艾洛蒂的人，所以他成为了最可疑的嫌疑人，这对于雷内来说，是一个巨大的打击。

In this exemplary adaptation of a Georges Simenon novel, director Claude Chabrol creates possibly his darkest and most introspective work, in which he explores some of his favourite themes – most notably the idea of a deadly threat hiding beneath a mask of bourgeois respectability. The film is set in a small Breton village where it appears to rain continually and where the hours of night appear to outnumber those of daylight quite substantially. This claustrophobic location lends the film an oppressive, suffocating atmosphere, which is strikingly evocative of the mood of Simenon’s novels. A streak of the driest black comedy permeates the film, making it both oddly amusing and intensely disturbing, a quite different tone to most of Chabrol’s other thrillers.
The drama revolves around two men – a hat-maker and a tailor – who live opposite each other but who appear to inhabit totally different worlds. Each man is, in his own way, a prisoner of his own making – the hat-maker is forced to live alone in order to conceal the fact that he killed his wife; the tailor is stifled by the large family who lives with him in his confined house. Each man secretly envies the other, and so a sinister attraction begins to draw them together – with ultimately tragic consequences for both of them. Chabrol’s mastery of the psychological thriller genre enables him to tell this story effectively, using deceptively simple cinematography and surprisingly very little dialogue. Towards that end, he is admirably served by his lead actors, Michel Serrault and Charles Aznavour.
In a career spanning fifty years, Michel Serrault has acquired a reputation as one of France’s most versatile and talented character actors. In Les Fantômes du chapelier, he gives one of his most distinctive and memorable performances – indeed it could be said that it his portrayal of the hat-maker Labbé which carries the film and contributes most to it its poignancy and quirky comic slant. Serrault shows an extraordinary ability when it comes to playing characters who are either mad or bad: whilst he manages to frighten, he is also able to arouse sympathy. This is readily apparent in his performance of the hat-maker in this film – even when he is murdering his victims, you cannot help having more sympathy for him than for the women he is disposing of (with an ease which is more comical than shocking). As the film develops, we are drawn further and further into the hat-maker’s troubled world – rather like the tailor who observes him from across the street – and what we are most struck by his not so much his dangerous insanity but rather his tortured humanity. Without an actor of Serrault’s calibre, it is unlikely that Chabrol could have achieved this level of sophistication and depth.
Whilst the film is mostly focused on the hat-maker, the tailor also plays an important part in the film, and Charles Aznavour (in another fine performance) allows the character to function brilliantly alongside Serrault’s hat-maker. Perhaps the most important role of the tailor is to provide a kind of psychological bridge which enables the spectator to cross over into the hat-maker’s world. The idea of a voyeur spying on another world is a device Chabrol has used a number of times previously (most effectively in his 1962 film L’Oeil du malin ), but here it is crucial to the film’s development. The tailor also serves as a contrast with the hat-maker – one is well-mannered yet a perpetual outsider; the other is irritable yet an accepted member of the community. Although one man lives alone and the other in a large family, both experience a terrible solitude which leads them inexorably towards self-destruction. There are perhaps as many similarities as differences, which leads us to make some interesting speculations. Could the tailor and the hat-maker be two facets of the same individual? Or could the tailor merely be a projection of the hat-maker’s own conscience? One of the most beautiful aspects of Chabrol’s cinema is its subtle sense of ambiguity, which implies – possibly – that nothing is quite what it seems. What you see depends on who you are and where you happen to be standing – much as it does in real life. Can there ever be such a thing as an objective reality in Claude Chabrol’s universe?
Compared with some of Chabrol’s other thrillers, Les Fantômes du chapelier must appear strangely minimalist. It is certainly sparse on dialogue and the film’s dramatic moments are heavily downplayed. Chabrol’s intention is not to create a suspense thriller – that much is evident. Instead, what he offers is a palpably chilling study of a man who is driven – perhaps by the noblest of motives – to murder his crippled wife and who – alone, afraid and guilt-stricken – is drawn further and further into insanity. By keeping the traditional thriller elements to the minimum and by leaving it to the camera and setting to say far more than his actors, Chabrol manages to construct one of his most tragically poignant portraits of human fallibility.

1941年冬季。法国的北方区域被德军占领。在南方则是自由的法国，而分界线则是卢河上的一座小桥。在占领区有一个小城镇，居民生活还算平静，直到有一天，二个抵抗运动的成员--法国军官皮埃尔及报务员跳伞来到这里，居民们平静的生活被打破了，德军全镇进行搜查...

陌生男子自稱罪犯，找上度假中的警探貝拉米。貝拉米一面求證男子的話，也探訪他的妻子與情婦；另方面讓他頭痛不已的弟弟也來會合。貝拉米原本不以為意，直到看見弟弟與妻子存在某種曖昧…

This black comedy is based on the dastardly deeds of French serial killer Henri-Desire Landru, who wined, dined, scammed, and dismembered over 10 women during WW I. He obtained his victims by placing ads in the Personals section of the paper. He then chose wealthy dowagers in their fifties. First he would woo them to his villa. Then he would con them into forking over their fortunes. Finally he would kill them, chop them up, and immolate the pieces. He is finally captured after he is recognized by the sister of one of the victims. Landru swears that he is not a psychotic killer, that he only did it so he could continue to support his family in the bourgeoisie style that they were accustomed to. During his trial, Landru refused to plead for himself one way or the other; he showed no remorse at all. He was guillotined on February 25, 1922."

由法国新浪潮电影的重要人物克劳德·夏布洛（Claude Chabrol)执导。希区柯克是他仰慕的一位导演，作品亦受其影响。

A collection of European T.V. commercials directed by a variety of well-known directors from across Europe and the U.S. Compiled and produced by Jean-Marie Boursicot.

A collection of European T.V. commercials directed by a variety of well-known directors from across Europe and the U.S. Compiled and produced by Jean-Marie Boursicot.