Ex-terrorist, Birgitt Haas still embarrassments the German secret services. Adapting a solid novel by Guy Teisseire, Heynemann has somewhat embellished things. But his spy film holds the road perfectly.
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Lisa Kreuzer dans “Il Faut Tuer Birgitt Haas”. Photo Zenith Productions – Films A2
Posted on June 21, 2025 at 05:30 am
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Lhe spy films, it grows everywhere today. In 1980, you had to get up early to find it in France. A little forgotten But more singular than his younger brother, Spy, get up Yves Boisset, This film by Laurent Heynemann closely combines spying, terrorism and romantic encounter.
Having adapted a novel by Guy Teisseire (which was film critic at France-Soir), the director has exposed the tragic part while keeping a background of darkness. In return for information, the German secret services ask a group of French counter-espionage to liquidate an ex-terrorist of the still embarrassing red armed fraction, by making up his death in passionate crime. Whether it is the chief spy (Noiret), the Gogo trapped (Rochefort, formidable as a defeated man, made shabby by sorrow) or the member of the armed struggle, all here seem to share in secret a disenchantment, a tenacious weariness.
The most of the film is undoubtedly Lisa Kreuzer, reduced to the role of passer -by in the first Wenders (Alice in cities, Over time…) And which takes its revenge here through a cousin figure of Ulrike Meinhof, independent and wandering, always fighting even if it is about to lay down their arms. Birgitt (unpublished spelling, possible amalgam of “birgit” and “brigitte”) Haas, it is quite rare to emphasize, takes the first step, in everything, but as a fragile, melancholy conqueror. The Frenchman decorated with the actress’s tudesque accent and her slight strabismus (at the Kate Moss) participate in her seduction. Finally, note: the fleeting presence of André Wilms, traveling companion (and rout) of the heroine.
