Chabrol and Genres
This chapter investigates the various ways in which Chabrol’s cinema engages with genre(s). Although his output is generically diverse, Chabrol remains mostly associated with the crime thriller. The focus is on how Chabrol works broadly within the confines of a generic frame while managing to reflect it in very different ways. The first case study, on Le Boucher, shows how a generically stable thriller transcends the genre at the end in order to become a philosophical investigation into civilisation and the human. In so doing, it identifies Stanley Kubrick’s 2001 A Space Odyssey as a key, undiscovered intertext for Le Boucher. The other films examined in this chapter, Masques, La Fille coupé en deux and Bellamy show how Chabrol resorts to reflexive modes (parody, theatricality) in order to raise questions about spectatorship. Finally, by examining the fortunes of the adjective ‘chabrolien’ in film reviews and identifying a number of Chabrolean markers through two case studies (films by Anne Fontaine and Denis Dercourt), this chapter explores Chabrol’s lasting legacy on the contemporary French thriller.