Article: la Ceremonie.

Claude Chabrol has spent much of his nearly forty-year career as a filmmaker examining the upper strata of the French bourgeoisie, with all of its attendant trappings: splendid, often isolated houses with impeccable furnishings; landscaping just this side of Versailles; clothing and grooming that make the women look like models and the men like the high-level execs that they are; and, of course, the little disruptions - a mother fixation (A double tour, Ophelia), an extramarital affair (La Femme infidele, Juste avant la nuit, les Noces rouges), incessant bickering (Chabrol's vicious episode in Paris vu par...) - that end up destroying, often violently, small pieces of the ...

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