1946年让·雷诺阿执导的《女仆日记》并非简单的阶层批判，而是一部以第一人称内心独白串联起碎片化日常的“心理惊悚剧”。摄影机始终跟随女仆塞莱丝汀穿行于庄园的走廊与门廊，窗框与镜面反复切割画面，暗示着角色被窥视与被囚禁的双重处境。布吉斯·梅迪斯饰演的管家则通过暴戾与虚弱的反差，暴露了底层攀附权贵的扭曲心理。男主人古怪冷漠，女主人病弱多疑，还有几个各怀心思的仆人。剧情围绕一桩悬案展开，却始终指向人性深处的自私与伪善，结局干脆利落地瓦解了所有道德幻觉。这部电影适合能沉下心看人物微表情的观众，也适合想了解1940年代欧洲导演如何用生活流手法批判社会的人。

Celestine, the chambermaid, has a new job in the country, at the Lanlaires. She has decided to use her beauty to seduce a wealthy man. But Mr Lanlaire is not a right choice all the house is firmly controlled by Mme Lanlaire, helped by the strange valet Joseph. Then she tries the neighbour, ex-officer Mauger. This seems to work. But soon the son of the Lanlaires comes back. He is young, attractive, and does not share his mother's anti-republicans opinions. So Celestine's beauty attracts Captain Mauger, young Georges Lanlaire, and also Joseph. Three men, from three different social classes, with three different conceptions of life. Will Celestine be able to convince Georges of her sincerity Will sinister and inflexible Joseph let his views upon Celestine be ruined A quite disillusioned depiction of humanity.