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An abusive boyfriend is killed when his car crashes off a cliff into the sea. His girlfriend escapes death and comes under suspicion. She and the man's brother then begin a romance of sorts.

As others have pointed out this feels like a Claude Chabrol movie without the depth. It's a mystery-thriller but in truth its story is none-too-interesting. What keeps it from being truly mediocre are the occasional moments of the bizarre, some nice photography and a groovy Euro score by Claude Bolling. It's definitely a case of style over substance though, as there really isn't anything too much going on under these surface details. The story itself is as unrealistic as a giallo with some clear absurdities such as the dead body found in the sea that fools everyone into thinking its someone else's body. But it doesn't really have a giallo's sense of purpose or excitement. It's much more self-consciously arty and once the thriller part of the narrative finally kicks into gear the film ends very suddenly.

It's a strange movie though and one that would no doubt benefit from a repeat viewing. Very much a minor film but stylish and odd enough to be given some credit.

Leonard Keigel made a few movies, and everyone must be grateful about this. The movie QUI ? Is probably his best, so we can't say that he had many things to give. Nevertheless he was co-founder of Cahiers de Cinema, so he managed to sit on director's seat a few times and have some fun. He was only having fun, nothing else.

It is rather difficult to judge this movie. There is nothing to be judged. The plot is trivial, the actors just say their words, the director doesn't do anything. His target is to create a film in the style of Chabrol and Clouzot, but he only manages to create a very-very long commercial.

Don't watch this movie. It's terrible !

One of Ms. Schneider's early works where she was trying to shake off the 'Sissi'-Image. Here we can see her (great as usual) as the somewhat troubled girlfriend of a man probably killed in a car crash as she tries to support his brother finding out what really happened. But strange things begin to happen and she feels like being hunted by a ghost.

The really good cast down to the supporting roles combined with the great and very suspenseful direction, a really good 60s score and the original and atmospheric script make a French thriller (actually, it's a French-Italian co-production) more interesting than lot of its counterparts from Hollywood. OK, the script tries sometimes a little bit too heavy to create a sense of overwhelming doom or anxiety surrounding Ms. Schneider's character (in her presence and in the things happening to her), on the other hand that low-key suspense is what makes the movie so effective. The main part seems to be just written for Ms. Schneider as she as usual does such a splendid job.

Any admirer of Ms. Schneider's talent shouldn't miss this movie. And any admirer of good (60s/70s) thrillers shouldn't miss this rare movie, either! I think it should really get a release on DVD. The score by none other than Claude Bolling would along with the songs be also great to have on CD.

I suppose that previous year LA PISCINE more or less inspired this topic. Not the same story, nor atmosphere, but however a very interesting analyze of characters between whom the relationship is more than ambiguous, that's the least we can say. It is complex, hard to follow in the last part - not the first-, but I guess it was written in that purpose. Flawless cast, good directing, typical of this period. I would say it is an intellectual thriller. It is riveting though, never boring, not too long, so you can try to watch it. If you liked LA PISCINE with the same leads, but without Delon, you should like this one, maybe not as much as Jacques Deray's film. Excellent ending twists, as in ALFRED HITCHCOCK PRESENTS eighties series.... Not the fifties and sixties one. Also a perfume of PLEIN SOLEIL atmosphere in this feature.

Something really quite different here and although it is rather far fetched, it is nevertheless rather beguiling and I enjoyed it anyway. I also enjoyed it despite the soundtrack and naff songs, although I notice some really liked what I would dismiss as typical French pop songs of the period. Well photographed, this almost had a arty look to it at times and if this look is not sustained there is plenty that is good. The cliff top scenes at the start, some city shop window reflections and of course 'the accident' are all very well shot. Some of the interiors are a bit wordy (a French habit) and whilst there are some nice costumes, nothing as ravishing as if this had been an entirely Italian production. And, I can resist no more, Romy Schneider is lovely and carries out her difficult and rather complex role very well indeed. As I say all a bit silly but, bright, colourful and ever engaging.