A director with a dark sensibility comparable to Chabrol, Claude Miller made these two twisty Polars (French Police-Noir films) with Michel Serrault (Kill the Referee), showcasing the actor in stunning performances alongside stars including Lino Ventura (Army of Shadows) and Isabelle Adjani (Possession, The Story of Adele H).
In The Inquisitor cops Gallien (Ventura) and Belmont (Guy Marchand) interrogate Martinaud (Serrault), a wealthy lawyer, for the rape and murder of two young girls. The investigation becomes further complicated when his wife (Romy Schneider, Le combat dans l’ile) gives her statement… A gripping thriller with intense performances, The Inquisitor was a critical and commercial success on release, nominated for 8 César Awards, winning Best Screenplay and acting prizes for Serrault and Marchand.
Serrault returns in Deadly Circuit as a P.I. who becomes obsessed with the target of his investigation, a murderer (Adjani) who he follows across Europe as she moves from one victim to another. Switching gears to pitch black humour this wild crime film features both leads on top form alongside a stunning supporting cast including Stephane Audran (The Discreet Charm of the Bourgeoisie), Macha Méril (Deep Red), Sami Frey (Bande à part), and Jean-Claude Brialy (The Bride Wore Black) among others.
4K UHD & BLU-RAY DUAL FORMAT LIMITED EDITION SPECIAL FEATURES
4K UHD and Blu-ray presentation of The Inquisitor, Blu-ray presentation of Deadly Circuit (3 Discs)
Original uncompressed mono audio
Success Story - a documentary on the making of The Inquisitor (2016)
Interview with Claude Miller and Michel Audiard on (1981)
An appreciation of the film by filmmaker Patrice Leconte (2016)
Reverse Short [Champ contrechamp] - a TV episode on crime fiction featuring Claude Miller, Michel Serrault, Alain Corneau, Michel Audiard, and others (1981)
Audio commentary on Deadly Circuit by critic Rachael Nisbet (2025)
A documentary on Deadly Circuit featuring co-screenwriter Jacques Adiard, director of photography Pierre Lhomme and producer Charles Gassot (2016)
A Hypnotic Fascination - an interview with filmmaker Philippe Le Guay (2016)
Original theatrical trailers
Newly translated English subtitles for each film
Reversible sleeve featuring designs based on original posters
Limited edition booklet featuring new writing by Adam Scovell and an archival interview with Miller
Limited edition of 3000 copies, presented in full-height Scanavo packaging with removable OBI strip leaving packaging free of certificates and markings
Year: 1981 & 1983
Country: France
Cert: TBC
Format: Blu-ray
Region: ABC
RAD117UHDLE
EAN: 5060974682317
Release date: 18/08/25
Surprised to see so few comments here - are these really incredibly obscure films? (I guess yes, as less than 10k views on letterboxd combined)
Did people go for the 4K, or just the blu-ray given the 4K is in SDR? (I’m still unclear about the benefits of an SDR 4K - is it just resolution or does it still have a wider range of colour than Blu-ray)
Surprised to see so few comments here - are these really incredibly obscure films? (I guess yes, as less than 10k views on letterboxd combined)
Did people go for the 4K, or just the blu-ray given the 4K is in SDR? (I’m still unclear about the benefits of an SDR 4K - is it just resolution or does it still have a wider range of colour than Blu-ray)
My copy is en route, but I understand that both the French release and this one have Dolby Vision HDR:
My copy is en route, but I understand that both the French release and this one have Dolby Vision HDR:
Where’s that image from? Neither the stock image nor Radiance’s website say it has any HDR grade at all.
I was considering maybe cancelling and grabbing the blu-ray as I’ve found I can barely perceive the resolution differences due to my setup.
Like the only SDR 4K I have - Twilight of the Warriors: Walled In - looks great but so does the bundled blu-ray, and this is presumably far less of a feast of colour
Surprised to see so few comments here - are these really incredibly obscure films? (I guess yes, as less than 10k views on letterboxd combined)
Did people go for the 4K, or just the blu-ray given the 4K is in SDR? (I’m still unclear about the benefits of an SDR 4K - is it just resolution or does it still have a wider range of colour than Blu-ray)
Release date is only next week on the 18th. I’m a Radiance subscriber and they only shipped it on Tuesday. If everything goes well, my parcel arrives tomorrow.
Where’s that image from? Neither the stock image nor Radiance’s website say it has any HDR grade at all.
I was considering maybe cancelling and grabbing the blu-ray as I’ve found I can barely perceive the resolution differences due to my setup.
Like the only SDR 4K I have - Twilight of the Warriors: Walled In - looks great but so does the bundled blu-ray, and this is presumably far less of a feast of colour
I got my copy today and watched Garde à vue (The Inquisitor). I cannot emphasize enough how much I loved the film and I think the 4K UHD release is well worth it.
The 4K UHD disc is a 66 GB with only the film (which is 87 minutes, but now has a modern TF1 logo, followed by a screen for the 4K remaster, totaling about 33 seconds and making the run time 1:27:54) and the Radiance logo and menus are 1080p. The film is presented in Dolby Vision, apparently like the French release from Rimini Editions (which I don't have), while audio is French: LPCM Mono and the optional English subtitles are excellent. Unfortunately, I discovered that the audio has an apparent encoding or mastering error, which seems to have been carried over to the Radiance edition. Basically, if you watch the film with the mono processed into surround (or I suppose, with your subwoofer active), the track sends out information to your subwoofer, which at certain timestamps causes a pulsing LFE sound. I only discovered this issue exists yesterday when I was trying to confirm whether the French disc has Dolby Vision. Like the French release, both the Radiance 4K UHD and Blu-ray discs are affected, and the timestamps mentioned on the French forum, like 29:30-36:50 and near the end of the film at 1:21:35, also check out on the Radiance discs.
The good news is, I watched the film with no audio processing (so it was direct single-channel mono) and my subwoofer never activated and I never heard the problem, so as long as you watch this mono film in mono, the problem effectively doesn't exist. It was only when I went back and turned off Sony's "Pure Direct" mode to check the Radiance audio that I noticed it was also in this track. Oddly, my subwoofer also does not deactivate as it usually does when it hasn't received any information in a couple of minutes, so I assume there is something encoded in the track which is constantly telling the subwoofer to be on, even when the pulsing sound isn't happening.
Honestly, I didn't find the pulsing sound to be that distracting even when the French forum said it was intolerable, but I suppose it could be, depending on how your sound system is set-up. The Rimini audio track is apparently encoded as 2.0 Mono and in DTS-HD MA, so perhaps that somehow makes the situation worse.
With that out of the way, I loved the 4K UHD presentation. The Blu-ray is already great, but Dolby Vision does what it says on the tin, making colors deeper and more vivid. Skin tones appear slightly warmer (this is especially noticeable on Michel Serrault's face) and the film's grain structure is more refined, giving the impression of watching a theatrical presentation, but from elements significantly closer to the negative than a 35mm print. The above caveat aside, the mono audio is otherwise excellent, with dialogue always being clear.
All of the extras from the French 4K UHD release are ported over, except for the 10-minute interview with Michel Serrault. Here is the back cover of the French release:
[Show spoiler]
On the Radiance Blu-ray (which is marked region free) they're all encoded in 1080/60i, 1080p23.976, or 720p60. The trailer looks to be an original French theatrical trailer and it's in full 1080p (with LPCM Mono audio), with some unique shots and a slightly different subtitle translation. I'm going to watch the extras soon, but the English subtitles are optional. And I haven't even checked out the Blu-ray of Mortelle randonnée (Deadly Circuit) yet, but it also stars Michel Serrault (here opposite Isabelle Adjani instead of Lino Ventura) and I remember liking it when I watched it several months ago, plus it has its own set of extras, most of which are available with English subtitles for the first time, as far as I can gather.
EDIT: Here is the BDInfo scan of the Blu-ray:
[Show spoiler]
Code:
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Title Codec Length Movie Size Disc Size Bitrate Bitrate Main Audio Track Secondary Audio Track
----- ------ ------- -------------- -------------- ------- ------- ------------------ ---------------------
00000.MPLS AVC 1:27:54 27,280,672,128 41,358,107,500 41.38 37.18 LPCM 1.0 1152Kbps (48kHz/24-bit)
And the extras, which again, are only on the Blu-ray:
Success Story: The Making of The Inquisitor (GARDE À VUE, histoire d'un succès - Claude Miller dans la cour les grands) (2016)
This documentary contains an archival interview with Claude Miller (who died in 2012), along with then-new interviews with his wife Annie Miller, son Nathan Miller (who was 12 during the filming of Garde à vue) and Claude Miller's agent Jean-Louis Livi, art director Lâm Lê and sound editor Nadine Muse.
Code:
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Title Codec Length Movie Size Disc Size Bitrate Bitrate Main Audio Track Secondary Audio Track
----- ------ ------- -------------- -------------- ------- ------- ------------------ ---------------------
00001.MPLS AVC 0:34:28 6,827,376,000 41,358,107,500 26.40 24.93 DD AC3 2.0 192Kbps
Code:
DISC INFO:
Disc Label: THE INQUISITOR
Disc Size: 41,358,107,500 bytes
Protection: AACS
BDInfo: 0.7.5.6
PLAYLIST REPORT:
Name: 00001.MPLS
Length: 0:34:28.599 (h:m:s.ms)
Size: 6,827,376,000 bytes
Total Bitrate: 26.40 Mbps
VIDEO:
Codec Bitrate Description
----- ------- -----------
MPEG-4 AVC Video 24935 kbps 1080i / 29.970 fps / 16:9 / High Profile 4.1
AUDIO:
Codec Language Bitrate Description
----- -------- ------- -----------
Dolby Digital Audio French 192 kbps 2.0 / 48 kHz / 192 kbps / DN -30dB
SUBTITLES:
Codec Language Bitrate Description
----- -------- ------- -----------
Presentation Graphics English 59.609 kbps
FILES:
Name Time In Length Size Total Bitrate
---- ------- ------ ---- -------------
00001.M2TS 0:00:00.000 0:34:28.599 6,827,376,000 26,403
CHAPTERS:
Number Time In Length Avg Video Rate Max 1-Sec Rate Max 1-Sec Time Max 5-Sec Rate Max 5-Sec Time Max 10Sec Rate Max 10Sec Time Avg Frame Size Max Frame Size Max Frame Time
------ ------- ------ -------------- -------------- -------------- -------------- -------------- -------------- -------------- -------------- -------------- --------------
1 0:00:00.000 0:17:03.689 24,931 kbps 49,347 kbps 00:13:48.494 40,684 kbps 00:07:01.954 38,208 kbps 00:09:16.956 103,981 bytes 746,892 bytes 00:10:27.159
2 0:17:03.689 0:17:24.910 24,939 kbps 49,139 kbps 00:24:18.757 39,346 kbps 00:19:23.428 36,287 kbps 00:19:22.561 104,022 bytes 746,090 bytes 00:34:27.698
STREAM DIAGNOSTICS:
File PID Type Codec Language Seconds Bitrate Bytes Packets
---- --- ---- ----- -------- -------------- -------------- ------------- -----
00001.M2TS 4113 (0x1011) 0x1B AVC 2068.533 24,936 6,447,606,232 35,078,202
00001.M2TS 4352 (0x1100) 0x81 AC3 fra (French) 2068.533 192 49,645,056 323,210
00001.M2TS 4608 (0x1200) 0x90 PGS eng (English) 2068.533 60 15,413,725 88,549
Claude Miller and Michel Audiard (1981)
Shot on video for French television, this interview has been upscaled.
Code:
QUICK SUMMARY:
Disc Label: THE INQUISITOR
Disc Size: 41,358,107,500 bytes
Protection: AACS
Playlist: 00004.MPLS
Size: 1,106,617,920 bytes
Length: 0:09:51.465
Total Bitrate: 14.97 Mbps
Video: MPEG-4 AVC Video / 13990 kbps / 1080p / 23.976 fps / 16:9 / High Profile 4.1
Audio: French / Dolby Digital Audio / 2.0 / 48 kHz / 192 kbps / DN -30dB
Subtitle: English / 51.168 kbps
Patrice Leconte (GARDE À VUE, une exemplaire leçon de mise en scène - le regard de Patrice Leconte) (2016)
Code:
QUICK SUMMARY:
Disc Label: THE INQUISITOR
Disc Size: 41,358,107,500 bytes
Protection: AACS
Playlist: 00002.MPLS
Size: 1,122,794,880 bytes
Length: 0:05:39.839
Total Bitrate: 26.43 Mbps
Video: MPEG-4 AVC Video / 24952 kbps / 1080i / 29.970 fps / 16:9 / High Profile 4.1
Audio: French / Dolby Digital Audio / 2.0 / 48 kHz / 192 kbps / DN -30dB
Subtitle: English / 66.636 kbps
Reverse Shot on Crime Cinema (Champ Contrechamp)
This discussion program from 1981 features Claude Miller, Michel Serrault, Michel Audiard, filmmaker Alain Corneau and others. Like the above interview clip with Miller and Audiard, it has been shot on video and upscaled.
Code:
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Title Codec Length Movie Size Disc Size Bitrate Bitrate Main Audio Track Secondary Audio Track
----- ------ ------- -------------- -------------- ------- ------- ------------------ ---------------------
00007.MPLS AVC 0:52:01 4,222,192,896 41,358,107,500 10.82 10.00 DD AC3 1.0 192Kbps
Code:
DISC INFO:
Disc Label: THE INQUISITOR
Disc Size: 41,358,107,500 bytes
Protection: AACS
BDInfo: 0.7.5.6
PLAYLIST REPORT:
Name: 00007.MPLS
Length: 0:52:01.067 (h:m:s.ms)
Size: 4,222,192,896 bytes
Total Bitrate: 10.82 Mbps
VIDEO:
Codec Bitrate Description
----- ------- -----------
MPEG-4 AVC Video 9998 kbps 720p / 59.940 fps / 16:9 / High Profile 4.1
AUDIO:
Codec Language Bitrate Description
----- -------- ------- -----------
Dolby Digital Audio French 192 kbps 1.0 / 48 kHz / 192 kbps / DN -30dB
SUBTITLES:
Codec Language Bitrate Description
----- -------- ------- -----------
Presentation Graphics English 38.483 kbps
FILES:
Name Time In Length Size Total Bitrate
---- ------- ------ ---- -------------
00005.M2TS 0:00:00.000 0:52:01.067 4,222,192,896 10,822
CHAPTERS:
Number Time In Length Avg Video Rate Max 1-Sec Rate Max 1-Sec Time Max 5-Sec Rate Max 5-Sec Time Max 10Sec Rate Max 10Sec Time Avg Frame Size Max Frame Size Max Frame Time
------ ------- ------ -------------- -------------- -------------- -------------- -------------- -------------- -------------- -------------- -------------- --------------
1 0:00:00.000 0:15:25.624 9,442 kbps 18,619 kbps 00:00:22.405 14,908 kbps 00:00:21.788 13,233 kbps 00:00:21.071 19,691 bytes 164,214 bytes 00:00:23.406
2 0:15:25.624 0:13:51.363 10,109 kbps 16,862 kbps 00:23:00.228 16,317 kbps 00:22:54.856 15,683 kbps 00:22:52.854 21,081 bytes 171,693 bytes 00:20:10.909
3 0:29:16.988 0:13:15.594 10,347 kbps 15,427 kbps 00:29:17.505 13,544 kbps 00:36:14.972 13,204 kbps 00:36:14.972 21,577 bytes 163,920 bytes 00:31:56.547
4 0:42:32.583 0:09:28.484 10,256 kbps 21,483 kbps 00:51:34.641 20,504 kbps 00:51:32.556 20,021 kbps 00:51:28.552 21,390 bytes 165,116 bytes 00:51:57.114
STREAM DIAGNOSTICS:
File PID Type Codec Language Seconds Bitrate Bytes Packets
---- --- ---- ----- -------- -------------- -------------- ------------- -----
00005.M2TS 4113 (0x1011) 0x1B AVC 3121.035 9,999 3,900,766,278 21,310,917
00005.M2TS 4352 (0x1100) 0x81 AC3 fra (French) 3121.035 192 74,904,576 487,660
00005.M2TS 4608 (0x1200) 0x90 PGS eng (English) 3121.035 38 15,017,116 87,463
FWIW, I also have no issues with the mono on my setup when played back directly. I tried upmixing but it didn’t really work and the mono was ultimately again output like that. Really strange phenomenon. Also totally agree with McCrutchy re. PQ. The film looks great in 4K and the HDR grade is exquisite as it tones down some slightly too punchy SDR primaries. Glad that Radiance / FiM made the decision! Encoding is obviously exquisite on all discs. Deadly Circuit on BD is nicely graded and looks beautiful too. Superb release!
I watched Mortelle randonnée (Deadly Circuit) again via the Radiance Blu-ray yesterday. This is a fascinating film, which I don't think comes together properly, but is nevertheless very entertaining and well worth seeing. Serrault is much funnier here than in Garde à vue, but the film's tonal shifts between comedy and thriller are not handled well and the film becomes very difficult to believe as a result. Still, this must have been a very expensive film at the time, because there is a lot of location shooting in multiple European countries and some lovely cinematography from Pierre Lhomme. Apparently, many people on this production were expensive to hire, which also caused lots of problems.
Radiance's presentation is excellent and I believe it corrects one or two minor typos in the Kino subtitles. I never did watch the commentary on the Kino, but the real advantage for Radiance is having the TF1 extras. As with Garde à vue, there is another documentary for TF1 by the same people, also from 2016 and using archival interviews with Claude Miller from 1990 and 2013. Annie and Nathan Miller are again interviewed, but for Mortelle randonnée, we also get then-new interviews with Pierre Lhomme and Jacques Audiard (co-writer with his dad), amongst others. Apparently, the film was not a success critically or commercially, and the documentary delves into why that was and how the film was re-released in a version that is over twenty minutes shorter. It's really good stuff and worth getting the Radiance release to see even if, like me, you already have the Kino. Also included is a brief appreciation from filmmaker Philippe Le Guay (which is pretty amusing after watching the documentary) and another great remastered French theatrical trailer. Unfortunately, I forgot to check out Radiance's commentary with Rachel Nisbet, but perhaps I will soon.
Like Garde à vue, there was a 2024 release in France by Rimini Editions (only a Blu-ray re-release, as this is a 2K master), which does include the shorter version on a second Blu-ray, along with some additional extras, though two of them are analyses of Americans: author Marc Behm (that's right, Mortelle randonnée is a French version of
[Show spoiler]Eye of the Beholder, yes, thatEye of the Beholder
!) and Jazz musician Carla Bley, who provided the soundtrack for the film. The additional extras on the Rimini Blu-ray are detailed in a French review here.
Here is the BDInfo scan of the Blu-ray of Deadly Circuit in this 4K UHD release of The Inquisitor (I also added the scan of the Blu-ray of The Inquisitor to this post above):
[Show spoiler]
Code:
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Title Codec Length Movie Size Disc Size Bitrate Bitrate Main Audio Track Secondary Audio Track
----- ------ ------- -------------- -------------- ------- ------- ------------------ ---------------------
00000.MPLS AVC 2:01:05 35,616,722,304 42,207,576,424 39.22 34.91 LPCM 1.0 1152Kbps (48kHz/24-bit)
Sacred Circuit (Sacrée randonnée - L'épopée d'un film culte) (2016)
Interviews include Claude Miller (archival), his wife Annie Miller and son Nathan Miller (who was 14 during the filming of Mortelle randonnée), producer Charles Gassot, co-writer Jacques Audiard, director of photography Pierre Lhomme, assistant director Thierry Chabert, sound editor Nadine Muse and Alain Jomy, a French film music composer who worked on other Miller films.
Code:
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Title Codec Length Movie Size Disc Size Bitrate Bitrate Main Audio Track Secondary Audio Track
----- ------ ------- -------------- -------------- ------- ------- ------------------ ---------------------
00001.MPLS AVC 0:34:29 4,718,177,856 42,207,576,424 18.24 14.99 LPCM 2.0 2304Kbps (48kHz/24-bit)
Code:
DISC INFO:
Disc Label: DEADLY CIRCUIT
Disc Size: 42,207,576,424 bytes
Protection: AACS
BDInfo: 0.7.5.6
PLAYLIST REPORT:
Name: 00001.MPLS
Length: 0:34:29.817 (h:m:s.ms)
Size: 4,718,177,856 bytes
Total Bitrate: 18.24 Mbps
VIDEO:
Codec Bitrate Description
----- ------- -----------
MPEG-4 AVC Video 14993 kbps 1080p / 23.976 fps / 16:9 / High Profile 4.1
AUDIO:
Codec Language Bitrate Description
----- -------- ------- -----------
LPCM Audio French 2304 kbps 2.0 / 48 kHz / 2304 kbps / 24-bit
SUBTITLES:
Codec Language Bitrate Description
----- -------- ------- -----------
Presentation Graphics English 54.952 kbps
FILES:
Name Time In Length Size Total Bitrate
---- ------- ------ ---- -------------
00001.M2TS 0:00:00.000 0:34:29.817 4,718,177,856 18,236
CHAPTERS:
Number Time In Length Avg Video Rate Max 1-Sec Rate Max 1-Sec Time Max 5-Sec Rate Max 5-Sec Time Max 10Sec Rate Max 10Sec Time Avg Frame Size Max Frame Size Max Frame Time
------ ------- ------ -------------- -------------- -------------- -------------- -------------- -------------- -------------- -------------- -------------- --------------
1 0:00:00.000 0:16:32.408 15,140 kbps 27,804 kbps 00:04:34.190 23,675 kbps 00:04:33.564 21,397 kbps 00:14:45.593 78,929 bytes 408,702 bytes 00:14:42.464
2 0:16:32.408 0:17:57.409 14,859 kbps 26,551 kbps 00:26:55.530 21,663 kbps 00:26:54.571 20,395 kbps 00:16:51.176 77,475 bytes 506,640 bytes 00:23:46.633
STREAM DIAGNOSTICS:
File PID Type Codec Language Seconds Bitrate Bytes Packets
---- --- ---- ----- -------- -------------- -------------- ------------- -----
00001.M2TS 4113 (0x1011) 0x1B AVC 2069.734 14,994 3,879,208,671 21,112,119
00001.M2TS 4352 (0x1100) 0x80 LPCM fra (French) 2069.734 2,310 597,759,684 3,311,688
00001.M2TS 4608 (0x1200) 0x90 PGS eng (English) 2069.734 55 14,217,921 80,679
Philippe Le Guay (MORTELLE RANDONNÉE, une fascination hypnotique - le regard de Philippe Le Guay)
Surprised to see so few comments here - are these really incredibly obscure films? (I guess yes, as less than 10k views on letterboxd combined)
Admittedly haven't seen The Inquisitor, but I would certainly not describe Deadly Circuit as "incredibly obscure." Kino releasing the film (which is the copy I have fwiw) is a good indicator of that for one I personally think Michel Serrault wasn't a good fit for the role (needed more pathos and emotional depth); he's more suited to something like Kill the Referee with its attendant and organic humor. To put it simply, I wanted his role here to "play it straight," and I felt like he couldn't help himself in wanting to inject intermittent quirky, vaguely humorous bits. Not saying he was bad per se; I think he's a fine enough actor. I honestly think it comes down to taste more than anything. As McCrutchy mentioned, fascinating film but not one I find sure of itself. Adjani's character's nihilistic [death] drive (pun intended; a good portion of this film is spent literally driving) is probably what sticks with me most. She is just relentless, seemingly driving to the end of the earth until she drives into and through a wall—a wall that perhaps symbolizes the end of meaning-nullifying destruction, the forcing to confront who you are and what led you to question (and, as a result, flee) that in the first place
I watched Mortelle randonnée (Deadly Circuit) again via the Radiance Blu-ray yesterday. This is a fascinating film, which I don't think comes together properly, but is nevertheless very entertaining and well worth seeing. Serrault is much funnier here than in Garde à vue, but the film's tonal shifts between comedy and thriller are not handled well and the film becomes very difficult to believe as a result.
It is not supposed to be a "believable" film. It is an absurdist crime thriller, a mind-bender, part of a pretty big trend in French cinema that began in the early 1970s and ended in the early 1990s.
Mortelle randonnée is one of the best of these films because it is also, as you have noticed, a visual stunner.
The reason Hollywood's remake of Mortelle randonnée, Eye of the Beholder, does not work at all is precisely because it tries very hard to "come together properly". It is just an action thriller.
Before this trend started, French crime films were essentially continental variations of the American crime films/film noirs. The best of them came from Melville, Giovanni, Verneuil, and Duvivier, and even the most stylish ones depicted the reality of the underworld.
The trend produced films that loved to bend the reality of the underworld. The classic cool and tough criminals were then replaced by loopy thugs, introverted troublemakers, and odd detectives (like the one Serrault plays).
Blier was the undisputed master of this new, absurdist French crime film, but he never went into social messaging as Godard did. (This, of course, is why his films from the trend do not feel awfully dated now). By the 1990s, the French were again making flashy crime films to compete with Hollywood's crime films.
Some of the better films from "Absurd Crime Cinema" are:
Some American actors and directors also contributed to this trend:
Last edited by pro-bassoonist; 08-20-2025 at 06:28 AM.
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The Inquisitor 4K UHD (1981) + Deadly Circuit BD (1983) (Radiance Films)
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