Nathalie Rigaux is an intriguing presence in the realm of cult cinema, known for her role in Mr. Klein (1976). Set against the backdrop of Paris during World War II, Rigaux's performance contributes to the film's exploration of identity and deception. Although her filmography may be limited, her work in Mr. Klein exemplifies the complex narratives that define exploitation cinema. Rigaux's portrayal adds depth to the film's unsettling atmosphere, making her a noteworthy figure in the conversation surrounding 1970s French cinema.
Mr. Klein
Paris, January 1942. France is occupied by the Nazis. Robert Klein, apparently apolitical, is a well-to-do art dealer, Roman Catholic and Alsatian by birth, who takes advantage of French Jews who need to sell artworks to raise cash to leave the country. One day, the local Jewish newspaper, addressed to him, is delivered to his home. He learns that another Robert Klein who has been living in Paris, a Jew sought by police, has had his own mail forwarded to him in an apparent attempt to destroy his social reputation and make him a target of official anti-Semitism. He reports this to the police, who remain suspicious he may be reporting this scheme to disguise his own true identity. His own investigations lead him in contradictory directions, to Klein who lives in a slum while having an affair with his concierge and to Klein who visits a palatial country estate where he has seduced an apparently Jewish married woman. When the art dealer cannot locate the other Klein, authorities require him to offer proof of his French non-Jewish ancestry. While waiting for the documentation to arrive, he struggles to track down his namesake and learn his motivation. Before he can resolve the situation by either means, he is caught up in the July 1942 roundup of Parisian Jews. He is reunited with Jews who once were his clients as they board boxcars for Auschwitz.
