But as noted above, the universe of the film is steeped in decay. The cruel God of the Jews is stronger than you. I pity you for falling into his fearsome hands. But in characteristic film noir fashion, Clouzot entrenches these religious images within an existential framework. Because all debts in film noir must be paid, including those imagined ones we ourselves create.
Mercy is ambiguous at best.
A little boy, a notorious compulsive liar, claims to have seen Christina, or perhaps her ghost. Clouzot does not answer. Time stretches before us, and we are only burdened with further questions. The views expressed in this column are those of the writer and do not necessarily reflect the views of the editor or the majority of our contributors.