The Swindle(1997) Apr 2026

The central mystery of the film is their relationship: are they father and daughter, lovers, or merely business partners? Chabrol intentionally leaves this bond undefined, even as they take on a more dangerous scheme involving a corporate treasurer, (François Cluzet), and a briefcase containing 5 million Swiss francs.

While many praised the "practiced ease" and "elegant film craftsmanship" of the work, some found the second half—which shifts from light caper to a more standard gangster film in Guadeloupe—to be less engaging or even "run-of-the-mill" compared to the polished hotel-based scams of the first half. The Swindle (1997)

The story follows two small-time con artists: (Isabelle Huppert) and Victor (Michel Serrault). They travel between French and Swiss resort hotels, running low-stakes scams that involve drugging businessmen and stealing just enough money that reporting the crime would be too embarrassing for the victims. The Swindle(1997)

Released in 1997, ( Rien ne va plus ) is the 50th feature film by French New Wave master Claude Chabrol . Unlike many of his more caustic portrayals of class resentment, this film is often described as a "lighter" addition to his filmography—a droll, Hitchcockian comedy-thriller centered on the art of the con and the ambiguity of human identity. Plot and Core Dynamic

: The film is highly regarded for the chemistry between Isabelle Huppert and Michel Serrault . Huppert uses a series of wigs and disguises throughout the film, leading some critics to view her role as a metaphor for acting itself, with Victor serving as a director-like figure who manages their "productions". The central mystery of the film is their

: The film’s title, Rien ne va plus (meaning "no more bets"), reflects the unpredictability of its plot. By the end, viewers may still be uncertain about who exactly was scamming whom—or the true nature of the protagonists' pasts. Critical Reception

: Critics often note the "sunnier" disposition of this film compared to Chabrol's darker masterpieces like La Cérémonie . It features running gags, such as Victor constantly being mistaken for hotel staff. The Swindle (1997) The story follows two small-time

: Chabrol frequently pays homage to Alfred Hitchcock. In The Swindle , this is evident in scenes where characters must navigate public events where escape requires "breaking the rules" of social decorum.