Claude Chabrol, Les biches (1968).

“Le Boucher” de Claude Chabrol (1970) avec Stéphane Audran, Jean Yanne et Roger Rudel, mars 2026.

Stéphane Audran et Jean Yanne dans “Le Boucher” de Claude Chabrol (1970), mars 2026.

Stéphane Audran et Jean Yanne dans “Le Boucher” de Claude Chabrol (1970), mars 2026.

At this rate I’m going to run out of caption ideas

Que la bête meure (Claude Chabrol, 1969)

Que la bête meure (Claude Chabrol, 1969)

Que la bête meure (Claude Chabrol, 1969)

Jules Guérin on the Fort Chabrol in the 10th district of Paris

French vintage postcard

Jules Guérin on the Fort Chabrol in the 10th district of Paris

French vintage postcard, mailed in 1899

Anne Brochet et Philippe Noiret dans “Masques” de Claude Chabrol (1987), mars 2025.

Philippe Noiret et Robin Renucci dans “Masques” de Claude Chabrol (1987), mars 2025.

Philippe Noiret dans “Masques” de Claude Chabrol (1987), mars 2025.

Fort Chabrol in the 10th district of Paris

French vintage postcard, mailed in 1899

Street scene by the Fort Chabrol in the 10th district of Paris

French vintage postcard, mailed in 1900

L'enfer, Claude Chabrol (1994)

Les cousins de Claude Chabrol, 1959.

Synopsis : Venu de province, Charles s'installe à Neuilly chez son cousin Paul. Les deux jeunes gens préparent une licence en droit. Pour le reste tout les différencie : Charles est sérieux tandis que Paul cultive un personnage de libertin. Le jour où Charles tombe amoureux de Florence, Paul s'empresse de séduire la jeune fille et d'en faire sa maîtresse.

Claude Chabrol

Chabrol, created the first ripple of the French new wave with his first feature, Le Beau Serge (1958). Unlike some of his other critic colleagues on the influential journal Cahiers du Cinéma, who also became film-makers, Chabrol was perfectly happy in the mainstream. 

In 1957, he and Eric Rohmer wrote a short book on Alfred Hitchcock, whom they saw as a Catholic moralist. Hitchcock’s black humour and fascination with guilt pervades the majority of Chabrol’s films, most of which have murder at their heart. However, although Chabrol’s thematic allegiance to Hitchcock remained intact, his stylistic mastery came close to matching the magnificently bleak geometry of Fritz Lang, another mentor.

Marriage, in Chabrol’s films, must be defended by betrayed bourgeois spouses at any cost. But whatever is seething beneath the surface – guilt, jealousy or crime – the niceties of life must continue. 

 For Chabrol, brutality could erupt at any time within the most banal and everyday of settings…. the norms and laws of civility can break down without warning.

TSPDT - Claude Chabrol

Average French people

Once again posting something that only 3 people will appreciate ✌