The chauvinist Alexandre balances relationships with several women, including the maternal Marie and the sexually liberated Veronika, in the post-1968 intellectual scene of Paris.
Adapted from a novel by Georges Simenon, the story concentrates on a gang of thieves who utilize a cross-road garage as the hideaway. During their last caper, the gang has accidentally murdered a jewel thief, and the heat is on.
Ukrainian filmmaker Kira Muratova offers a darkly comical look at everyday cruelty in these three savage tales. The first, “Boiler Room No. 6” is based on a story by Yevgeny Golubenko and takes place with in a blue-tinted boiler room where a panic-stricken resident of a communal apartment has dragged the body of his neighbor, a young woman he killed over an argument about a bar of soap. The nearly surreal “Ophelia,” the second story, centers on the vengeance of the title woman, a blonde beauty who works in a maternity hospital. The third vignette, “The Maiden and Death” follows a winsome little girl who tires of being constantly admonished by her well-meaning, but wearisome, paralyzed grandfather.
Mikhail helps out Nikolay and Lyuba by giving them a ride to a nearby construction site. They will work there to build a new town and factory.
Bearing traces of the old Anton Chekhov play The Wedding, The Contract is set during an “arranged” ceremony. The bride and groom barely know each other, but this matters not at all to their tradition-bound families. At the last minute, the bride balks. Only slightly nonplused, the groom’s father, a status-seeking doctor, decides to go ahead with the expensive reception anyway.
Maldone is a canal worker, happy with his life after running away from his family estate. He falls in love with Zita, a young gypsy girl, during a local fete. However, after his brother dies, Maldone is called back to manage the estate. There, he takes up the life of a landowner and marries a neighbor’s daughter. Years later Maldone is still restless on the estate, and becomes obsessed with Zita, after meeting her by chance one evening.
Victor Meynard is an assassin for hire, and he’s proud of it. It’s part of his family’s business. However, in this comedy, there are occasions when he simply cannot bring himself to pull the trigger and make a “hit.” Instead, he adopts the boy who would have fallen to his gun, and trains him in the niceties of the assassin’s game. He is assigned to kill an art forger who is much too cute for such a fate. When he adopts her as well, things really start to get out of hand.