OF all the places to choose for a self-imposed exile, Venice is perhaps the most beautiful option.
Sun-soaked days, gorgeous architecture, charming gondola rides... it’s no surprise that the famous detective, Hercule Poirot, has chosen the Italian city for his retirement.
When we meet the celebrated sleuth in A Haunting In Venice, the third Poirot film directed by, and starring, Belfast man Kenneth Branagh, it’s Halloween. But the world, quivering in the wake of the Second World War, has seen enough horror.
Poirot, too, has seen enough. His career has been dedicated to weeding out the worst of humanity by solving crimes and investigating mysteries.
The terror of war and genocide has led him to give up on detecting once and for al l , spending his time doing all he can to avoid thinking about crime.
But when he receives a visit from an old friend, mystery writer Ariadne Oliver, played by Tina Fey, Poirot finds himself investigating once again, though Ariadne insists that this time, it’s not a crime, rather a seance in a haunted palazzo that she’s trying to prove isn’t real.
When one of the guests at the seance is murdered, the moustachioed detective is plunged back into a world of sinister secrets and sleuthing, this time with a haunting supernatural edge.
Based on Christie’s 1969 novel Hallowe’en Party, A Haunting In Venice adds a thrilling twist to the mystery stories Poirot fans know and love, and shows a new side to the detective.
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