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A courier is arrested in Luxembourg. Hidden in his car, in the frame of a historical painting: thick bundles of money - silent witnesses to a widely ramified criminal network. In Christoph Hochhäusler's seventh feature film La Mort Viendra, the audience is thrust into this network without warning. At first, there is a sense of disorientation: too many names, too much information, all of which is thrown at us unchecked. But we can trust the experienced director; those who engage with the unusual narrative style are rewarded with moments of intense clarity. There are repeated flashes of scenes that give us pause amidst the chaos of organized crime: an approach in a club that suddenly seems so warm, then another act of violence that literally goes for the throat. We can also take a break with the contract killer Tez, who is supposed to put an end to the person responsible for all the misery. La Mort Viendra is a chilly and stylish Euro-thriller that evokes associations with the cinema of Jean-Pierre Melville. The only difference is that Melville's Lone Wolf is not played here by Alain Delon, but by the fantastic Sophie Verbeeck.