8 Women 2002

The film unfolds in the 1950s within a grand family estate where preparations for Christmas are in full swing. The atmosphere takes a dark turn when the family’s patriarch, Marcel, is discovered dead in his bed with a dagger lodged in his back. With the eerie presumption that the murderer must be one of the eight women present in the house, intrigue and suspicion envelop the gathering.

The story begins with Suzon coming home from school for the Christmas holidays. She reunites with her mother, Gaby](/actor/gaby), her younger sister, Catherine, and her wheelchair-bound grandmother, Mamy, who are deep in conversation in the living room—a central hub for most of the drama to unfold. Their dialogue eventually shifts to family dynamics, particularly focusing on Marcel. Leading the first song, Catherine expresses her discontent with a heartfelt tune, “Papa t’es plus dans le coup” (transl. “Dad, You’re Out of Touch”). The lively singing rouses Suzon and the two women’s aunt, Augustine, who quickly stirs conflict among the family members and servants, Madame Chanel and Louise. The tension escalates to a dramatic moment where Augustine threatens suicide, prompting a seemingly miraculous act from Mamy.

The maid’s routine soon leads her to the grisly discovery of Marcel’s body, sending shockwaves through the household. Catherine locks the door behind her, insisting that they should not disturb the scene until the authorities arrive. As the storm rages outside, they realize that the dogs had not barked the previous night, a chilling indication that the killer must be among them. However, their attempts to call for help are thwarted when they discover the phone line has been sabotaged.

In the midst of the chaos, the entrance of Marcel’s estranged sister, Pierrette, a nightclub performer with a notorious reputation, complicates matters further. Her unexpected arrival is accompanied by the provocative number “A quoi sert de vivre libre” (transl. “What’s the Point of Living Free?”), teasing layers of her past with Marcel. As suspicions rise, the women grapple with identifying the murderer. Secrets unfold, revealing that Suzon has hidden her pregnancy from her father, expressing her tumult in a poignant duet with Catherine titled “Mon amour, mon ami” (transl. “My Lover, My Friend”).

The spotlight shifts between the women and their pasts—Madame Chanel is entangled in a love affair with Pierrette, raising eyebrows and igniting confrontation among the family. As each woman’s history surfaces, the complex web of relationships becomes more evident. During this turmoil, Mamy reveals she possesses significant financial assets that could have potentially rescued Marcel from his financial woes, leading to threats and accusations.

In its climax, the narrative pivots as Catherine shares a shocking twist—her alleged complicity in Marcel’s staged demise was rooted in her desire to expose the truth about the family. The chaotic revelations reach a pinnacle when Marcel, in a tormented act, takes his own life, leaving the women in a state of shock. The film concludes with the haunting melody “Il n’y a pas d’amour heureux” (transl. “There is no Happy Love”), sung by Mamy, as the women join hands, facing an audience aware of their shattered bonds and secrets.