287:. Estelle, who has a voracious sexual appetite, was a gold digger and seductress who killed a man. Meanwhile, the lesbian Inès abused her partner's love for her and eventually killed them both in a murder-suicide. As the story progresses, Garcin becomes increasingly annoyed by Inès' considering him a coward, while Estelle makes unreciprocated advances on him; Inès is tempted by Estelle, but crazed by Estelle's heterosexuality.
280:), are then led in; afterwards, the Valet leaves and locks the door. Realizing that they are in hell, the trio expects to be tortured; however, no torturer is forthcoming. While waiting, they strike up a conversation and discuss each other's sins, desires, and unpleasant memories; they slowly realize that such probing is the form of torture they are meant to receive.
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The three at first continue to see events happening on Earth, but eventually, as the living move on, they are left with only their own thoughts and the company of the other two. Towards the end of the film, Garcin demands he be let out; in response, the door opens. However, none leave. They resign
347:, found the film "antiseptic", with emotionless acting and stagy directing; he summarized that the film "prove that "No Exit" is inappropriate material for a full-length ". Allison Darren calls the film an "excellent psychological drama" with a "surprisingly overt" depiction of
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The Valet (Manuel Rosón) enters a hotel room with Joseph Garcin (Morgan Sterne) in tow. The windowless room has a single entrance and no mirrors. Two women, Inès
Serrano (
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Sartre did not know about the film while it was in production. Viveca
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notes that Inès is a "typical screen lesbian" of the early 1960s, both physically attractive and inherently evil.
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The film uses dialogue-free flashbacks when the main characters talk about their lives. Alison Darren in the
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Embodied Memory : The
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552:. New York: Cassell.
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519:(December 6, 1962).
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139:Vladimir Ussachevsky
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232:Sinners Go to Hell
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