Violette Nozière 

Huppert delivers one of her finest performances as real-life “criminal” Marie Latour, a woman forced to the extremes: performing illicit abortions and renting out her home for prostitution to support her two children in Nazi-occupied France while trapped in a loveless marriage with an absent partner (François Cluzet).

The clinical storytelling of Flaubert’s oft-adapted novel proves an ideal match for Chabrol’s cool control, while Huppert’s embodiment of Emma Bovary, the bored wife of a spiritless country doctor (Jean-François Balmer) who keeps herself vitalized through lusty affairs and extravagant spending, digs deep into the psychology of her ill-advised choices.

As gorgeously crafted as it is absolutely chilling, Chabrol’s adaptation of Ruth Rendell’s A Judgement in Stone is widely considered the director’s crowning achievement. It depicts the dangerous pairing of two kindred spirits: stoic maid Sophie (Sandrine Bonnaire) and free-spirit Jeanne (Huppert), who will become the worst nightmare of Sophie’s employers.

In the most playful film of the Chabrol-Huppert alliance, petty scam artists Betty (Huppert) and Victor (Michel Serrault) join the big time when Betty eyes a larger target. As they enter dangerous new territory, it’s not always clear who’s playing who, but that’s all just part of the fun.

When a young aspiring musician (Anna Mouglalis) learns of a strange past connection to a famous concert pianist (Jacques Dutronc), she feels compelled to meet him. His embrace of her presence sparks the jealousy of his son and, more perilously, his devoted third wife (Huppert).