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Law and Hoult give emotionally detailed, deeply felt performances that partly work against type, while the film’s unblinking portrait of the seductive, corrosive power of hate gives it a power that rises above a typical cat-and-mouse policier.

Friedkin won his only Oscar, for best director, for this ferociously entertaining policier, which remains one of the great New York movies, a seedy snapshot of the city as it once existed — at least through the jaundiced perspective of a detective who has his share of blind spots.

Directed by Dominik Moll, this austere Grenoble-set policier raises questions about the prevalence of misogyny in French culture and the country’s high rates of sexual violence.

One of its creators, Anne Landois, was a showrunner and writer for the classic policier “Spiral,” and the other, Gaëlle Bellan, wrote for both “Spiral” and the great spy thriller “The Bureau.”

As he theorizes a culprit, an existential policier plays out against a background of strikes and demonstrations, under constant state surveillance.