On March 27, 2025, Netflix released a powerful three-part documentary series titled De Rockstar à Tueur : Le cas Cantat, delving into the tragic murder of actress Marie Trintignant by her partner, Bertrand Cantat, a prominent figure in the French rock scene. The series not only recounts the harrowing events surrounding the murder but also challenges the narrative that has long surrounded it, particularly the troubling label of "crime passionnel" (passionate crime) that has been historically used to describe such acts of violence against women.
The incident occurred in the early hours of July 27, 2003, in a hotel room in Vilnius, Lithuania, where Trintignant was filming a project directed by her mother, Nadine Trintignant. During a violent altercation, Cantat inflicted 19 blows to her body, primarily to her head, leading to severe injuries including a fractured nose and cerebral edema. Despite the severity of the assault, it took until 7:15 AM for Vincent Trintignant, Marie's brother, to call for help, after Cantat had initially failed to do so. Trintignant was rushed to the university hospital in Vilnius but succumbed to her injuries six days later, on August 1, 2003, at the age of 41.
Following the incident, Cantat attempted suicide by consuming a cocktail of tranquilizers and antidepressants. He was subsequently tried in Vilnius in March 2004, where he was convicted of murder with indirect intent and sentenced to eight years in prison. However, he served only four years in a French prison before being granted conditional release in 2007, a fact that has continued to provoke public outrage.
The documentary, co-directed by Anne-Sophie Jahn, Nicolas Lartigue, Zoé de Bussierre, and Karine Dusfour, explores not only the events of the murder but also the intense media frenzy and public opinion that surrounded the case. It highlights how the narrative of the crime was shaped by societal attitudes towards domestic violence and how, for years, it was minimized by referring to it as a "passionate crime." This framing often served to excuse the violent actions of the perpetrator, a perspective that has evolved significantly in recent years.
In the documentary, Jahn reflects on this shift, stating, "This case allows us to realize the enormous evolution that has taken place in 20 years. At the time, the press spoke of 'crime passionnel.' Today, we talk about feminicide, which reflects a more profound understanding of these issues." This shift in language is crucial, as it acknowledges the reality of violence against women rather than romanticizing it.
The series features testimonies from individuals close to Trintignant, including Lio, a family friend, and Richard Kolinka, the drummer of the band Téléphone and the father of Trintignant's child. Their accounts provide a more nuanced view of the tragedy and the impact it had on their lives. Kolinka's emotional testimony is particularly poignant, as he grapples with the loss of Trintignant and the societal failures that allowed such violence to occur.
Additionally, the documentary does not shy away from discussing the aftermath of the murder, including the suicide of Krisztina Rády, Cantat's partner, in 2010. Rády had defended Cantat during his trial, insisting that he had never been violent towards her. Her tragic death raises unsettling questions about the cycle of violence and the consequences that often follow such tragedies.
Even years after the incident, Cantat's career has continued to flourish, which has sparked controversy and debate. Despite the #MeToo movement's significant impact on public discourse around domestic violence, Cantat has retained a loyal fanbase. In 2013, he embarked on a tour with his band Détroit, and a crowdfunding campaign for the band's album raised over 100,000 euros, showcasing the enduring support he receives from certain segments of the public.
Anne-Sophie Jahn emphasizes the importance of this documentary in fostering a broader conversation about domestic violence, stating, "If this story had been well told, if the relatives had spoken out, we might have prevented the deaths of two women." This sentiment underscores the documentary's aim: to shed light on the often-ignored narratives of victims and to challenge the societal complacency that allows such violence to persist.
As the documentary unfolds, it presents a stark contrast between the glorification of Cantat as a rock star and the tragic reality of Trintignant's death. It highlights the media's complicity in perpetuating a narrative that favored the perpetrator over the victim. The series serves as a reminder of the ongoing struggle to address issues of domestic violence and the need for society to confront its own biases and assumptions.
In conclusion, De Rockstar à Tueur : Le cas Cantat is not just a retelling of a tragic event; it is a critical examination of how society views and responds to violence against women. It challenges viewers to reflect on their own perceptions and the language they use when discussing such crimes. This documentary is an essential contribution to the ongoing discourse surrounding feminicide and domestic violence, urging a collective reckoning with the past and a commitment to change.
