Police Page #8

Synopsis: Mangin, a police inspector in Paris, leans hard on informants to get evidence on three Tunisian brothers who traffic in drugs. He arrests one, Simon, and his girl-friend Noria. Simon's brothers go to their lawyer. He springs Noria, who promptly steals 2 million francs that belong to the Tunisians. They suspect her of the theft; her life as well as the lawyer's is in danger. Meanwhile, Noria is playing with both the lawyer and Mangin's affections. Mangin is mercurial anyway: intimidating and bloodying suspects, falling for a police commission trainee before flipping for Noria, wearing his emotions on his sleeve. Can he save the lawyer and Noria, and can he convince her to love?
Genre: Crime, Drama, Romance
Director(s): Maurice Pialat
Production: Eureka Entertainment Ltd
  1 win & 3 nominations.
 
IMDB:
6.6
Year:
1985
113 min
135 Views


You matter to me.

Did you take the money?

No.

You'll get your head blown off.

They won't let you go.

You won't let go. You're worse.

That's sheer nonsense.

I'm the opposite of them.

I care about you.

I really do.

Why do you always lie to me?

What for?

Don't you understand?

I've always lied.

I've lied all my life:

To my teachers at school,

to my brothers,

my folks, everyone!

Everyone did that.

It doesn't matter.

My folks think

I'm at a catering school.

Noria's just a name

Simon gave me.

I lied to him too.

I thought I loved him.

Simon, his brothers, Ren.

They don't care about

our kind of truth.

Arabs have their own ways,

their own truth...

They always seem to be lying.

I like that.

Their truth is that

they're going to kill you.

- You don't kill for $200,000.

- People do. They do!

The money's in a locker

at Central Station.

I knew it was a dumb move,

but now it's too late.

Were you in love with Lambert?

No!

Can you see me as a cop's wife?

$1000 a month is OK.

What'll you do with your $200,000

you jerk?

- $200,000's nothing.

- Nothing?

It'd take a dumb cop

a lifetime to earn that!

So what?

What can you do with your $200,000?

You dream of parking your ass

on a beach under a palm tree with

some a**hole serving you tall drinks!

For you that's paradise!

Beaches are a drag

and you can't go in the water

because of the coral reefs

and the sharks. So you move on,

you start hustling,

that's a real dumb-ass way to live...

Sure... it's not as good as

searching premises,

nice little stake-outs, questioning

suspects, that's really living!

It's not a drone's life like you,

like them. Money, money!

They only know stick-ups

or jackpots!

I don't give a damn about that money.

You think

you'll get me by giving it back.

You're as dumb as them.

I screwed them and their

little packets of powder

because I swiped their dough.

I can't do that with you!

You've got nothing.

I've got nothing!

As Chardonne said:

"Deep down, everything is rotten. "

No, I think he said:

"Deep down, everything is horrible. "

Yes. Deep down everything's horrible.

Gotta go see the other a**hole!

You think it's funny!

I want to come with you.

If you insist.

Give me the bag.

Where is it?

There, under your feet.

Wait for me here?

A cop who keeps his word?

See Mangin,

that's what war's all about.

That's the most important thing.

Keeping one's word.

Excuse me...

It's all there.

Go figure that one out!

Bravo, Mangin!

And thanks.

If you ever need a favor,

get in touch.

- OK. Bye.

- Night, Mangin.

Satisfied?

It's OK as far as the money goes.

But who knows what

he's got up his sleeve!

Detective! Come here!

No hard feelings. Remember this?

Have a drink. What'll it be?

Rum. No, whiskey.

What are you doing here, scum?

They let you out?

I was innocent.

Didn't stop you from slugging me!

And you didn't get me?

Your wife had her baby?

It's due in a week or 10 days.

- Been at it again?

- Sure.

Where'll you put the next tattoo?

I'll find room for it.

- What you gonna call it?

- Vincent.

That's my middle name.

Louis Vincent Mangin.

She wanted to call it Stephen.

But that's a f*ggot's name, right?

No?

- What if it's a girl?

- It's not a girl.

She did tests. No, it's male...

- Well, if it's male...

- Yes, it is.

So you're going to crawl back

into bed tonight?

My old lady knows I'm here.

She trusts me now.

I quit goof in' off...

- I've calmed down...

- Good.

I'm off. Bye.

I'm leaving.

I knew you'd say that

sooner or later.

I was expecting it.

But I thought you'd say it in anger.

Anyway, you'll never understand.

It can only end badly.

I hadn't realized something

was wrong. But we need sleep.

I'm tired too.

We'll see things clearer later.

You think this was a snap decision?

Yes, cos you're tired.

- I'm not.

- Yes, you are.

No point in going on.

It's over.

No, it's not.

Yes, it is.

I can't live with you.

You'll be disappointed.

I can't give a man what he needs...

And you've taught me not to lie.

I just want you to love me.

That's all.

I'm incapable of loving.

Maybe I'm too young.

You're as tough as an old-timer.

You have no heart.

Nothing matters to you.

You're like a sealed tower.

Nothing can get to you.

That's why I want to leave.

Think they'll let you?

They've got their money.

That's not enough for them.

They're small-time.

They've only killed

a couple of people in 10 years.

They won't come after me.

They have a saying: "Only mountains

don't bump into each other. "

They won't touch me.

In a month, in a year...

You're not like them.

How do you know? People say

cops and crooks are alike...

You don't scare me.

I don't care.

I do what I please.

Kiss me and say goodbye to me.

Beat it, Noria.

- One kiss.

- No.

Claiming you love me now?

I'm sure of it.

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Catherine Breillat

Catherine Breillat (French; born 13 July 1948) is a French filmmaker, novelist and professor of auteur cinema at the European Graduate School. In the film business for over 40 years, Catherine Breillat chooses to normalize previously taboo subjects in cinema. Taking advantage of the medium of cinema, Breillat juxtaposes different perspectives to highlight irony found in society. Through film, she attempts to redefine the female narrative in cinema by showing female characters who undergo similar experiences as their male counterparts. Many of Breillat's films explore the transition between girlhood and adulthood. The females of her films attempt to escape their adolescence by seeking individuality. There is an unsaid silence in society for girls to hide their sexuality and desires unless directly confronted about them. Breillat offers a platform to discuss female pleasure and sexual responsibility by exposing social and sexual conflicts in her films' themes. more…

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Submitted on August 05, 2018

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