The idea of murder often evokes the image of the sea and sailors. The sea and sailors do not appear as a distinct picture, murder rather awakens emotions that crash against the waves. Ports are often the stage of crimes, and we shall not dwell on this fact, which is easily explained, but we know from many chronicles that the murderer was a sailor, real or disguised, and if disguised, even more so connected with the sea. (…) Thus, the drama that is about to unfold here is meant to be presented as a particular internal mechanism. Let us also add that it is intended for homosexuals. The idea of the sea and crime is naturally accompanied by the idea of love or pleasure — or rather the idea of love against nature.
~ Jean Genet, “Querelle de Brest”

Two murders. Two perpetrators. Two motives. The police in Brest will mistakenly attribute both murders to one of the perpetrators, completely overlooking the other. That’s the whole story. Banal. There is nothing more banal than a murder in the theatre.

“Querelle” is a story about people in search of love. They are tormented by guilt that prevents them from accepting their own identity. Who they are feels like a crime committed at birth. Torn between a longing for innocence and a desire for freedom, tempted by the prospect of a fuller life, aware of the inevitable end, and yet fearful of any change.

Everything changes when a sailor, murderer, and smuggler — Georges Querelle — crosses the threshold of the La Feria brothel.