"A prosperous insurance broker finds out that his wife has a secret lover and goes to confront the man in his Paris apartment. An extraordinary conversation follows in which the husband displays a remarkable openness and seemingly liberated attitude, until...La femme infidèle turns from a suspense melodrama into a psychological study of the Faithful Husband and a coolly satiric examination of the details of ritualized married life, and then back into a suspense melodrama" (M.S., PFA). Hitchcock, along with Lang, was a paragon for Chabrol, who, unlike his nouvelle vague colleagues, concentrated within one genre, that of the film policier, the film noir-in-color. Like Hitchcock, Chabrol finds the mundane the most useful source of suspense and irony, and never imagines that murder is a simple task. Like Lang, he knows that everyone is guilty.