Somewhere in the Paris district at the beginning of winter. A young woman, Marie Bourgoin, suddenly disappears. The only clue: a tourist brochure left on the crime scene, the Mauritius Islands splattered with blood. The matter is referred to the Versailles crime squad; Chief Fabian, Police Captain Gomez and their forensic crew get to work. The area is combed for evidence, Marie's friends and relatives questioned, clues analyzed... The team draws a blank. Some days later, still within the city boundaries. Two bodies are discovered. One of the dead is a young blonde, just like Marie Bourgoin. Fabian digs deeper into the case, studies Missing Persons files, matching up precise physical details. Result: A serial killer has probably been on the loose for several years. Gomez and Fabian's trials and tribulations are just beginning…
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I like the fact that genre films allow a director to be personal without being egocentric. A thriller, for example, can be instantly interpreted on two levels: one level for people who want to see a crime flick and nothing more, and another level for people who want to look further, who seek something else. So you immediately have two cards to play.
In fact, genre films are an indication of the health of the industry that produces them. Movies reflect our lives—these days, they usually offer nothing other than a view of American life.
Frédéric Schoendoerffer, director (excerpt from an article in “Le Nouvel
Observateur,” March 9, 2000)