
A woman, Nadja, searches for her sister's murderer. This search goes through differing moments of reality, or unreality, that overlap within facets of a broken-up time sense. In this emulation of film noir, the investigative structure does not create suspense; the dialectic murderer/victim does not exist. The crime is fabricated bit by bit, like the staging of a spectacle, and it is in the traditional tools of seduction (the spiked heels) that the weapons will be hidden. Ultimately, the crime Nadja achieves makes her neither a triumphant heroine nor a victim.
Directed by Melvie Arslanian, Stiletto leans on a strong ensemble — Amos Poe, Tina L'Hotsky, Martine Martin — to carry a story that balances spectacle with character.
The film landed with audiences for its craft and performances, and remains one of the most talked-about drama titles of 1981.
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