Paris, by night. Léa has just killed a man in self-defence. Who can she turn to now for help and trust? Luc and Jean, two newspaper delivery guys, who witnessed the murder and now seem to want to hide for strange reasons? Francis, a painter with a mysterious past with whom she shares her life? Her friend, Julien, a regular at the bar where she works? Or her former lover, Inspector Moskowitz? Perhaps Mosko will be able to help her and remove all the evidence linking her to the crime. But can you trust witnesses who won’t bear witness, a man solely preoccupied by his painting, a police inspector who conceals evidence and who is a rejected lover to boot...?
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"Cameleone" is a film that has its roots in the tradition of film noir, yet at the same time offers a totally new approach to the genre, both via the female character as well as through the psychological and dramatic machinery at work. The film possesses both a distance and strong presence. This is where its power lies. The fresh approach of the film is linked to the image of fate, locomotives tearing along pre-existing rails that we discover little by little as the film advances. This is a characteristic of film noir and noir in general. It is obvious here. (...) Cameleone" could appear under the "fringe noir" heading. It reminds me of James Tobak's "Fingers". (...) It's obvious that Benoît Cohen felt entirely free and that he chose to hook up with this genre is an eccentric manner. This is why "Cameleone" touches me so much."