Les Mois d'avril sont meurtriers (1987)
Directed by Laurent Heynemann

Film Review

Director Laurent Heynemann followed his dark Occupation Era drama Stella (1983) with this gloomy thriller which, despite its contemporary setting, manages to be even bleaker in tone. A thoughtful meditation on the destructive power of guilt, Les Mois d'avril sont meurtriers presents a cat and mouse game between a police inspector and his quarry in which both protagonists become hopelessly trapped in their solitary, misanthropic worlds. Arresting performances from Jean-Pierre Marielle and Jean-Pierre Bisson make this one of Heynemann's most compelling films, both actors bringing a chilling reality to their portrayal of characters who have lost their grip on reality and appear forever locked into an obsessive nightmare existence.

Laurent Heynemann wrote the script (based on a novel by Robin Cook) in collaboration with Bertrand Tavernier, on whose films he had worked as an assistant (L'Horloger de Saint-Paul, Que la fête commence...) before making his directing debut with the provocative Algerian War themed drama La Question (1977). In common with the director's subsequent films Faux et usage de faux (1990) and La Vieille qui marchait dans la mer (1991), Les Mois d'avril sont meurtriers is a quirkily innovative piece of cinema that is marginally let down by its workmanlike direction and failure to draw its off-kilter narrative to a satisfying conclusion.

Film Synopsis

When an informer is executed, his dismembered remains found in several bin bags, Fred, a resilient police inspector, leads the murder investigation with his customary dogged determination.  Fred has been with the police service thirty years and despite his own personal tragedies he remains committed to his profession.  The more sordid and vile the crime, the more determinedly he sets about bringing the culprit to book.  Fred's prime suspect is Gravier, a former butcher turned military man.  Despite Fred's repeated attempts to intimidate him, Gravier retains his cool and the two men are soon drawn into a private battle of wills.  With the help of an alcoholic prostitute, Fred finally manages to make his arrest, but his certainties are badly shaken when Gravier manages to gain his release.  This unexpected development makes Fred all the more resolved to punish his opponent.  Haunted by the death of his daughter, disgusted by the conflict of interests that have allowed his enemy to evade the law, Fred goes after Gravier for their final bloody showdown...