The inclusion of the “Ebben? Ne andrò lontana” aria from "La Wally," which I could happily listen to repeatedly, provides an excellent beginning, and then there's the presence of a young admirer named “Jules” (Frédéric Andréi) – a character who bears a striking resemblance to Jean-Pierre Aumont. Jules manages to make a clandestine recording. The reason for this secrecy is that the singer, “Cynthia Hawkins” (Wilhelmina Fernandez), dislikes recordings and has therefore never released one. "Jules" approaches her backstage after the performance seeking an autograph, engages in a brief conversation, then steals her silk gown and returns to his apartment located within a rundown garage. There, he possesses sophisticated audio equipment that faithfully reproduces the beauty of her singing. Unbeknownst to him, an earlier incident on the streets resulted in a murder, and those responsible are involved in a white slavery operation originating from North Africa. The victim had apparently placed a cassette containing the ringleader's identification in his mail pouch. Now, two separate storylines emerge, contributing to confusion as the plot thickens and he finds himself increasingly at risk. Initially, there are corrupt police officers attempting to retrieve the confession. Subsequently, questionable businessmen of Oriental descent desire possession of his unauthorized concert recording so they can profit from it. When he shows that recording to “Alba” (An Luu), a friend who is also a sex worker and an opera enthusiast, he inadvertently draws in the meticulous “Gorodish” (Richard Bohringer). This reveals both the true mastermind behind everything and the genuinely malevolent nature of his associates. What follows is a blend of comedy and thriller elements, and I felt Andréi maintained control throughout as it skillfully balanced mischievousness, seriousness, music, and menace. Bohringer has limited dialogue, but his character and his distinctive Citröen 11 become progressively more significant as our young protagonist attempts to stay ahead of the "spic" with the pickpocketing tendencies. We don’t see enough of Fernandez, with whom our young friend gradually develops a connection, although she does convey a sense of the isolation inherent in her itinerant, albeit successful, profession and also provides moments of beautiful music. I'm not sure I've encountered an operatic setting utilized quite like this within a crime drama before! The final fifteen minutes present a remarkable feat of resolution amidst the bleak surroundings, and there’s even a touch of tenderness as the various threads converge. I wouldn’t necessarily want to share a bed with someone wearing a motorcycle helmet, though.

Source on TMDB