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A genuine performance film as Bernadette Laffont and Bulle Ogier engage, with reckless abandon, in a flurry of senseless destruction in a house at night. Somewhere between a hallucination ... See full summary »


Jacques Baratier


Jacques Baratier (scenario), Odilon Cabat (collaboration) | 1 more credit »


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Cast overview:
Bernadette Lafont ... La première voleuse
Bulle Ogier ... La seconde voleuse
Jean-Baptiste Thiérrée Jean-Baptiste Thiérrée ... Le jeune homme
Fernando Arrabal ... Le vendeur de pièges (as Arrabal)
Eve Mylonas Eve Mylonas ... Une religieuse
Arlette Emmery Arlette Emmery ... Une religieuse
Jackie Raynal Jackie Raynal ... La femme torturée


A genuine performance film as Bernadette Laffont and Bulle Ogier engage, with reckless abandon, in a flurry of senseless destruction in a house at night. Somewhere between a hallucination and a nightmare. Both the explosive soundtrack and narration that accompanies the mayhem was provided by François Tusques. Written by Ferah

Plot Summary | Add Synopsis

Plot Keywords:

house | trap | robbery | maniac | See All (4) »









Release Date:

11 March 1970 (France) See more »

Also Known As:

Die Falle See more »

Company Credits

Production Co:

Argos Films See more »
Show more on IMDbPro »

Technical Specs

Sound Mix:


Aspect Ratio:

1.66 : 1
See full technical specs »

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User Reviews

Playful experimental film, for the initiated
6 September 2011 | by lor_See all my reviews

The wonderful French director Jacques Baratier was in a playful mood for the expressionistic film PIEGE. Designed for a small in-group of fans (like Jacques Rivette's similar '70s "games" movies), it has had only limited exposure, literally taking me 40 years to finally watch it after putting it on my Want List way back in 1971.

Though only enlisted as actor, Arrabal tends to dominate the proceedings, as a loquacious owner of a shop adorned with animal bodies, where he sells various traps, from rat to bear. The demonstration of how they work is highly realistic (and dangerous-looking), as you wouldn't want one of these babies to snap shut on your arm or head by accident.

The two icons of French cinema Bulle Ogier and Bernadette Lafont are perfectly cast as a pair of footloose ladies, who visit our hero's mansion. Film begins with him buying a large (bear) trap, and Bulle getting out of prison.

Similar to several Rivette classics, most notably CELINE AND JULIE, most of the hour-long experimental exercise concerns Bulle & Bernadette's antics in the house, ranging from spooky to kooky. They leave destruction in their wake, and unlike her later trademark sang-froid roles, Bulle is ebullient -making faces, smiling broadly (hard to imagine!) and completely uninhibited. Fans are sure to enjoy seeing the two leading ladies in sexy lingerie.

Weak link here is Baratier's protagonist Jean-Baptiste Thierree (non-actor whose chief claim to fame was marrying into Charlie Chaplin's clan), who at times resembles Johnny Depp's EDWARD SCISSORHANDS, but for me was somewhat blank, closer to Sikki Nixx's impersonation in the porn video EDWARD PENISHANDS (minus the makeup effects). It takes more than lots of eye shadow to impress me.

Much of the mansion footage is denoted by an overwhelming mood of S&M and B&D, with projections of John Willie-style fetish drawings of women in bondage on the walls, and even some explicit torturing, as the gals tie up J-B and whip him with riding crop. Bulle was later to make film history as MAITRESSE, the title figure of Barbet Schroeder's unexpurgated S&M classic.

Later a prominent indie film distributor in Manhattan (who I got to know in the '80s) Jackie Raynal pops up in a cameo as a half-clad tortured lady (she was a prominent film editor in Paris at the time, often working with Eric Rohmer).

Sometimes striking, the black & white photography is variable, with several scenes seriously under-lit, perhaps a symptom of no-budget filmmaking. This was clearly not a commercial project in any sense, but something of a goof. Baratier does achieve both surreal and even the intended expressionistic effects, without breaking the bank.

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