No Exit 2022

In a stark and suffocating chamber of everlasting torment, three troubled souls find themselves trapped together by a mysterious valet. The individuals—Joseph Garcin, [Inèz Serrano], and [Estelle Rigault]—are surrounded by a setting that strikingly mirrors the lavishness of 19th-century France. As they grapple with their bleak reality, they come to understand that what they initially expected as a tormenting punishment has instead morphed into a disconcerting routine of monotony.

At first, denial reigns as each tries to blame their catastrophic situations on external factors. Garcin maintains he was executed for living by his pacifist principles while Estelle insists on a case of mistaken identity. In contrast, Inèz is more insightful, resolutely declaring that they are all to blame for their moral failings, refusing to let them avoid the truth.

As Inèz’s perceptive nature kicks in, she starts to grasp the genuine reason for their collective imprisonment: they are not there to suffer in solitude but rather to act as instruments of each other’s torment. This realization instigates an unsettling shift as they navigate their new reality rife with discomfort.

In a bid to restore some sense of normality, Garcin proposes a fragile truce: a pact of silence to avoid further discomfort. However, Inèz, with her spirited nature, soon breaks this uneasy calm. She begins to sing haunting tunes tied to themes of execution, while Estelle frantically seeks a mirror to check her own image. Inèz, wanting to seduce Estelle, offers herself as a metaphorical mirror, revealing all the details she notices. Unfortunately, this only intimidates Estelle further. The entangled dynamics grow more complex, with Inèz drawn to Estelle, Estelle captivated by Garcin, and Garcin aloof from both women.

In this oppressive atmosphere, their relationships are forged in shared despair, compelling each character to cling to their identities as the lines between tormentor and tormented blur. They are forced to confront their inner demons and the dark truths surrounding their fellow damned.

As the trio’s tension spikes, they ultimately decide to confess their darkest secrets, searching for clarity amid their convoluted relationships. Garcin reveals his infliction of pain on his wife, which led to his execution by firing squad for abandoning his country. Inèz discloses her manipulative actions that drove her cousin’s wife, Florence, to suicide. Meanwhile, Estelle recounts the tragic fallout of her affair that resulted in the death of her child. Despite these earnest confessions, the friction among them only intensifies.

As their mutual animosity builds to a boiling point, Garcin finds himself increasingly drawn to Estelle’s bold pursuits, which stirs anger within Inèz. Yet, Garcin’s guilt consistently disrupts his surrender, prompting him to seek reassurance from Estelle that he isn’t a coward for his wartime desertion. Estelle willingly agrees, but Inèz retorts with razor-sharp sarcasm, hinting that Estelle’s affections are transparent illusions, allowing her to play at love with any man.

This confrontation ignites an urgency within Garcin to flee, but he discovers that the door only opens to reject him, working against his frantic efforts. In a desperate conclusion, Garcin realizes that “hell is other people,” a haunting epiphany that leaves him utterly despairing for Inèz’s consideration. Meanwhile, Estelle continues her fruitless advances on Garcin, who rebuffs her while Inèz observes, leading to frustration boiling over.

In a climactic outburst, Estelle lunges at Inèz with a paper knife, only to face Inèz’s fierce defiance that they are all already deceased. In a darkly comic twist, the trio erupts into hysterical laughter, reaching an eerie acceptance of their grim reality. With this somber understanding, Garcin finally declares, > “Eh bien, continuons…” (“Well then, let’s get on with it…”), marking the dirge-like initiation of their descent into madness and despair.