Freewheeling if repetitive, Rivette’s anti-thriller feels much emptier than usual as a woman’s sister and an ex-lover are asked to join her in mysterious circumstances.

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Seemingly existing outside of time, Rivette’s performative revenge tale featuring women pirates and sorceresses is one of his boldest experiments in film form, culminating in an occult-like finale of dancing bodies in trance. 

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Two celestial beings battle for a magical diamond in the underbelly of Paris in Rivette’s peculiar anti-fantasy, one that is drenched in a noir-ish atmosphere of shadowy interiors.

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Nuns of all kinds—caring, sadistic and lesbian—adorn Rivette’s controversial and sardonic sophomore feature about the ironies of religious faith, built around arguably Anna Karina’s most enigmatic performance.

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Rivette’s quaint adventure featuring two women—one an ex-con, the other a vagabond—navigating the streets of Paris is a freewheeling if also meandering look at how crime is a game of chance and consequence.

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