Sun Aug 13, 2017 7:00 PM
Berkeley Art Museum and Pacific Film Archive
Chabrol liked Charlotte Armstrong (he based Merci pour le chocolat on her as well); like his camera, the women in her women-centered thrillers are off center. At any rate that is how our heroines in-laws, the wealthy Regniers, attempt to portray her when she tries to divorce their mentally unstable son. In her rooming house peopled by Tarot-playing biddies and a funny tragedian, Stéphane Audran is being gaslighted by the Regniers malign agent. But biddyhood proves powerful. Critic Dave Kehr called The Breach Chabrols most audacious experiment with narrative forma modernist reworking of the melodrama.