EntityQ55375· pop 58· linked from 726 articles

Claude Chabrol

French film director (1930–2010)

AI overview

Claude Chabrol was a French film director who worked from the 1950s until his death in 2010, becoming one of the most prolific filmmakers of his era. He is remembered as an important figure in French cinema who made numerous films across different genres throughout his long career.

AI-generated from the Wikipedia summary — may contain errors.

Person · Open Library

Born: 1930
Died: 2010-09-12
Works: 16

Top works

Le femme infidèle
Fleur du Mal (la)
Hitchcock
Fantomas
Inspector Bellamy

via Open Library + Wikidata

Film & TV

Directing · Paris, France

Claude Chabrol (24 June 1930 – 12 September 2010) was a French film director, a member of the French New Wave (nouvelle vague) group of filmmakers who first came to prominence at the end of the 1950s. Like his colleagues and contemporaries Godard, Truffaut, Rohmer and Rivette, Chabrol was a critic for the influential film magazine Cahiers du cinéma before beginning his career as a film maker.…

Known for

Stéphane Audran, la complice de Chabrol — Self (archive) - filmmaker2026
Mia Farrow: Shadows and Light — Self - Filmmaker (archive footage)2025
Godard Cinema — Self (archive footage)2023
Les cahiers du cinéma, la création d'une empreinte — Self (archive footage)2021
Sous le soleil de Pialat — Self (archive footage)2021

Article

Claude Henri Jean Chabrol ( French: [klod ʃabʁɔl]; 24 June 1930 – 12 September 2010) was a French film director and a member of the French New Wave (nouvelle vague) group of filmmakers who first came to prominence at the end of the 1950s. Like his colleagues and contemporaries Jean-Luc Godard, François Truffaut, Éric Rohmer and Jacques Rivette, Chabrol was a critic for the influential film magazine Cahiers du Cinéma before beginning his career as a filmmaker.

His feature debut, Le Beau Serge (1958), was inspired by Hitchcock's Shadow of a Doubt (1943). Thrillers became a trademark for Chabrol, with an approach characterized by a distanced objectivity. This is especially apparent in Les Biches (1968), La Femme infidèle (1969), and Le Boucher (1970) – all featuring Stéphane Audran, who was his wife at the time.