Haunted by the murder of her friend Marie-Claire two years earlier, Judith decides to exorcise her pain by making a film about the unsolved case. Lucie, the actress chosen to play the lead, thinks she has no connection with the murdered woman until she learns that her friend and neighbour, François, was Marie-Claire's lover. Drawn deeper and deeper into the mystery of Marie-Claire's death, Lucie is shocked when she discovers that François is a prime suspect in the investigation. When Lucie confronts François, he admits that he is uncertain of his innocence. The shock of Marie-Claire's death and the brutal police interrogation to which he was subjected have led him to doubt not only his memory of the events but the testimony of Claude, the woman who loves him and who provides his alibi for the night of the murder. The polygraph: a revealer of truth...or a diabolical trap ?
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Robert Lepage is one of the most interesting figures to have emerged in the theatrical world in the last ten years. Whether staging Shakespeare or his own writings, his productions have
undisputed power and originality. One of the qualities of his work is the use of stylistic elements from the big screen, adapted for the particular needs of the stage. Was it this connivance with the cinema that led the Quebec stage director to become a film director in 1995 with "The Confessional"? In any case, there was no confusion of genres: in his original screenplay (with its share of autobiographical elements), Lepage piled up the "cinematic" effects, thus stressing his position as a film and not a stage director. The result was "interesting" (...). The same approach is found in "The Polygraph", this time adapted from one of his plays. Lepage uses the full scope of film with the diligence of someone determined to show that he knows the camera's vocabulary.(...)" (Jean-Michel Frodon, Le Monde)