Trivial 2007

Lt. Jacques Renard, Christopher Lambert, is a Le Havre police lieutenant who battles a deep-seated depression after the sudden death of his wife, Chloé. Six months of therapy and a stint in a mental hospital after a suicide attempt have left him shaken and solitary, his days haunted by fleeting visions of his lost partner. One day, a mysterious woman, Sophie Marceau, sits in his car and begs him to travel to Deauville to seek out the Hotel Normandy’s manager, Antoine Bérangère, a man of old wealth and old secrets. She insists only Renard can help her, and before long she vanishes from his life as abruptly as she appeared.

Renard heads to Deauville and checks into the opulent Hotel Normandy, where he encounters Bérangère’s son, Nicolas Briançon as Camille Bérangère. He learns that Bérangère disappeared forty-eight hours earlier, leaving behind no identification or money and only a hunting rifle. Camille, wary and protective, warns Renard off, but the detective’s instincts tell him there is more than a missing-person case at hand, especially after he discovers that Room 401—the room Camille denies exists—may hold the key to the mystery.

A key to Room 401 leads Renard into a trove of old photographs, newspaper clippings, and mementos tied to Bérangère’s first wife, Victoria Benutti, a film actress who died in 1970, exactly on the anniversary of Bérangère’s own disappearance. Victoria’s likeness seems to echo the enigmatic woman Renard chased in the hotel’s corridors, blurring the line between memory and present danger. The link between Victoria and the present tragedy intensifies as Renard—driven by a mix of professional duty and personal obsession—presses deeper into the hotel’s secrets. Victoria Benutti, Sophie Marceau, looms large in the case as the past bleeds into the present.

Camille’s frustration grows as Renard’s inquiries rattle through the hotel. Renard’s partner, Simon Abkarian, believes the case could be a straightforward suicide, but Renard senses manipulation and foul play, especially when Mélanie, Antoine’s second wife, acts with unsettling secrecy. Mélanie’s shadowy behavior reinforces Renard’s belief that someone close is hiding a far more sinister motive behind Bérangère’s disappearance.

At the heart of the hotel, the Duchess, played by Judith Magre, hints that the “ghost of Victoria” still haunts the place, a spectral presence that has outlived the woman herself and now haunts Renard’s every move. As Renard confronts the specter of the past, the mysterious woman reappears briefly in the lobby, and he gives chase across stairwells and onto the roof, only to see her slip away again into the night.

The investigation takes a grim turn when Bérangère’s car is found abandoned on the cliffs below Deauville, and a body—presumed to be Bérangère—appears in the city morgue with its skull and face battered beyond recognition, a gunshot from Bérangère’s own rifle having sealed the fate. While the crime scene continues to unravel, Renard notices the same mysterious woman watching from a distance and follows her to a nearby gas station. A chance conversation reveals that a Mercedes had stopped there after Victoria’s accident decades earlier, reinforcing Renard’s suspicion that Bérangère played a larger role in the past.

Renard makes his way to the cemetery where Victoria and her daughter are buried, and there he finds Victoria’s Volvo containing a DVD labeled “Lucie 1982.” A viewing reveals home movies of a teenager—Lucie—being molested, a truth that ties Bérangère to a history of abuse and control. With this revelation, Renard remembers Lucie as Victoria’s daughter and realizes the woman he’s been pursuing is connected to Renard’s own memories of loss. He seeks out the hospital records to uncover Lucie’s address, but the system and its memories are difficult to navigate, and Renard ends up in custody, accused of instability by his colleagues.

Camille visits Renard in jail and pieces together the chain of betrayals that brought them to this point. He recounts how his nanny, Evelyne, Brigitte Damiens, vanished after the crash that claimed Victoria’s life and set in motion a chain of lies designed to protect a predator. Evelyne’s apartment holds a crucial clue: a DVD showing Evelyne herself being molested by Bérangère, a discovery that cements the theory of long-buried abuse and complicity within the family.

Meanwhile, Lucie visits a wounded Bérangère on Victoria’s yacht, a man who has manipulated and haunted Lucie for years. Obsessed with the memory of Victoria, Bérangère fakes his own death so he and Lucie can flee together, and Lucie, scarred by years of abuse, tries but cannot bring herself to kill him. When Pierre bails Renard out of jail, the detective learns from Mélanie that Bérangère may be hiding on the family yacht, Victoria’s legacy turned into a final hideout.

On the yacht, Renard closes in as Bérangère gathers money and prepares to flee. Lucie steps forward with a weapon and ties up the surprised detective. As the vessel heads to sea, Bérangère tries to end Renard’s pursuit for good, but Lucie’s decisive move—throwing the mast aside—throws Bérangère into the ocean, where he meets his end. Freed from custody, Renard and Lucie return to Deauville, and some time later, Lucie seeks out Renard on the cliffs and they share a quiet, hopeful kiss, closing a case rooted in memory, trauma, and the tenuous path toward healing.