Panique, also released as Panic, is a 1946 French film directed by Julien Duvivier starring Michel Simon and Viviane Romance.

The next morning, Alice and Alfred pretend they are meeting for the first time, as the police know she covered up a crime for someone and are eager to discover the real criminal.

After his friends incite a violent mob, Alfred urges Alice to call Hire and beg him to leave work and return home.

The spurned and vengeful woman of Bresson's Dames au Bois de Boulogne (1946), the young suitor avenging the murder (by her lover) of the woman he has loved from a distance in Lacombe's Martin Roumagnac (1946), youth's revenge on being cheated by the war in Autant-Lara's Le Diable au corps (1946), the harrying of a Jew to his death in Duvivier's Panique (1946) and a number of Simenon and Steeman thriller adaptations rife with violence and revenge—all of these films attest to a need to project the immediate past on to a different set of narratives that are removed from the immediate arena of guilt (although Panique comes uncomfortably close).In the years immediately following World War II, filmmakers were judged according to how their films reflected their implicit judgement of the behavior of the French under German occupation.

The tale of "mob misrule" and "scapegoating" is played out in a setting that includes all the prototypical elements that identify it as a microcosm of French society: the cafe bar and terrace, small shops, church, modest hotel, "the selling of veal cutlets and Camembert".

[4] Panique has been described as "a strong and memorable screen denunciation of the relations between French people in the confused aftermath of the war" and "a harsh but thoughtfully delineated portrait of a society riven by mistrust and suspicion".

In this analysis, self-censorship and the political context that made a careful examination of the recent past impossible forced Duvivier "to speak in more highly elaborated codes.

It is the constraints themselves that produce a film compelling enough to demand an unraveling, and that distinguish Panique from the more journalistic renderings of Occupation stories that were made in later decades.