Police Page #3

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
118 Views


Then you supply Raoul with heroin.

Not me. And no one

calls me Simon anyway.

And I personally gave

the phone number to Raoul.

We tapped Raoul Bensimi's line.

Your number was dialed.

A woman asked Raoul if he wanted

a lot. What's that about?

I don't know.

Ask Noria what it's all about.

Someone told Raoul

that Simon just left.

- No one calls me Simon!

- No one?

That's vague.

Lots of people are called Simon.

Then he asked to speak to Maxime,

your brother.

Is that vague?

There are tons of Maximes!

You admit your brother

answers the phone?

He's not in Paris.

He was deported from France!

But he came back!

He answered the phone!

Explain it!

I don't know.

I got nothing to explain!

If you have proof, charge me.

I know my rights.

I can't hear a thing.

How did you find this out?

How?

Through the grapevine, Mangin.

I don't know. Is it serious?

They made some dumb moves.

They're all in dope up to their ears!

You've got nothing on him.

You know the Marseille cops

are taking you for a ride?

Oh yeah, sure!

His brothers'll be real happy!

Right. No, it's OK.

Fine, thanks.

Am I seeing you later?

When, late?

Call me first, OK?

Bye, Lambert.

This is Camel...

Lambert the lawyer.

How are you?

See you later. No problem.

Try to cool them.

Mangin summoned me.

Bechir always hugs me.

I'd rather he paid me!

He'll pay you.

He's not working now.

He's got a specialty

that makes big money.

If you're the best,

how come you're not working?

I'm taking a rest.

Nobody keeps cash at home.

Get into another racket.

I'll get you off if you get caught.

You're embarrassing.

You talk crap!

If I introduce you to big shots,

they'll say:

"Who is this joker?"

I was kidding.

It's not funny. You get a bullet

up the ass, you won't be laughing!

These people have no sense of humor.

We're fed up! Especially now.

People are killing each other.

Simon got busted.

In Tunisia, 600 died in riots

over the price of bread!

I've had it with Arabs.

I named my kids Sebastian

and Frank, not Mohamed and Ali.

He'll explain Simon's case.

He's not my client.

This is all hearsay.

They sent a BW from Marseille...

Could you repeat that, please.

What's a BW?

"Bench Warrant". The Marseille cops

sent one to the Paris cops.

"Bench" because a judge issues it.

The way I see the case,

they won't let him go.

It's bad news to have Marseille

on your back right now.

They're tougher than Paris.

They'll never let him go.

I'll try my best

to get the girl out.

We only care about our brother.

Screw the girl!

Why can't you just put up bail

and get out, like in America?

The Marseille cops

want to nail him.

France has no real mob.

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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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