Dead women tied to bedposts can be found at the center of the hall-of-mirrors plots in these two popular hits from postmodern fetishist Alain Robbe-Grillet. In light of the female nudity, forgiving French audiences didn’t object to the teasing pseudo-narratives.
As himself, Robbe-Grillet rides on the titular train in Trans-Europ-Express, inventing and revising a narrative in which actor Jean-Louis Trintignant (also on the train as “himself”) plays a drug courier on an endless cycle of transfers and messages. Shot in gorgeous black and white, the movie borrows a page from Alphaville or Shoot the Piano Player in its cavalier mockery of pulpy plots. Amid the narrative feints, the filmmaker’s unconscious (or too conscious) fantasies rise to the surface as the story zeros in on a prostitute-spy (Marie-France Pisier), whose primary function is more femme fatality than femme fatale.