A Taste for Murder

In post-war Paris, people seek to explore new ideas and expressions. Two men, one a failed writer and the other,
a possible murderer, hook up. In jazz-bars and cafes, solid meaning is stretched too far, resulting in the killing of women. Joseph, the assumed murderer, leads his storyteller through the darkest alleys of Paris. As the plot evolves, he realizes that what he is told doesn't really connect to the criminal's actual deeds. The book written in the film pushes the characters forward and deeper down a spiral of evil, erasing the walls between good and bad, to stand out as the true demon ofthe film.
A Taste for Murder raises questions of dystopic morality.
How far can a man go to please his needs? library-flourished murder stories are always interesting to treat in film, and obviously breathes a very typical kind of French-ness; Roman Polanski's The Ninth Gate being an earlier example (although neither Polanski nor Raoul Ruiz are French). The book of the film becomes the actual set-off subject, controlling its makers like puppets as they realize what can come out of it, although there is no natural bond between them and the scenario they create. It's all about selling your soul in the name of existentialism.
KASPER SPERBER

Orig. titel
Une place partii les vivants: Medverkande
Christian Vadin,Thierry Gibault,Valerie Kaprisky: Producent
Guillame Roitfeld: Manus
Raoul Ruiz: Foto
Ion Marinescu: Musik
Jorge Arriagada: Talat språk
French