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Dobermann

Dobermann

A 長編映画 by Jan Kounen

Produced by Noé Productions Int., La Chauve-Souris

Release in France : 18/06/1997

  • Contents

俳優 (20)

映画製作・配給会社 (5)

製作代表 :

Noé Productions Int., La Chauve-Souris

海外製作作品 :

Comstock group

フランス国内配給 :

Polygram

Co-productions :

StudioCanal, Tawak Pictures, France 3 Cinéma, Polygram

Film exports/foreign sales :

The Bureau Sales

興行成績:総合

興行成績:タイムライン

International releases (29)

映画配給会社バイヤー劇場公開日

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あらすじ

The Dobermann and his gang have been hitting the headlines. Banks, post-offices, bullion vans! The whole works! An anthology of robbery, a compilation of hold-ups! You could ask yourself if they’re not doing it for the sheer hell of it... As the head of police tells the anti-gang chief: “Remember, Chief Inspector... No one wants to see the Dobermann behind bars! Do you catch my drift? There are some crooks you just don’t arrest! Get that into your thick skull once and for all. That way, the pathologist won’t need to remove the bullets from it!” Chief Inspector Clodarec should have been on his guard. When Christini the Hyena, the world’s most crooked cop, sees the photos of the gang and declares: “They all look like junkies. They get high and kill for kicks, it’s the latest trend. With me around, these jokers would already be dead.” Clodarec should take to his heels with his whole team. But it’s already too late. He’s already caught up in every cop’s worst nightmare: the Dobermann.

Subject

How should “Dobermann” be best approached? At face value or otherwise?

“The world of “Dobermann” is closer to that of cartoons than neo-realist film. As such, it can be excessive and totally unbound. It’s a mocking and irreverent film, a fairly comic one in which emotions nevertheless have their place. I like to think that the audience feels something when one of characters dies. You obviously cannot take “Dobermann” at face value. How could it be otherwise? I have never imagined “Dobermann” from any other angle. I never told myself: “People could take this situation badly and misinterpret it. I’d better censor myself to avoid offending anyone.” No thank you! I don’t ask that kind of question. I hope that the audience will read between the lines of “Dobermann”. Generally, literal violence doesn’t interest me. I need the distance imposed by a style that is close to that of cartoons even though I give it less importance at one point. From the very visual excesses of cartoons, I move towards a more psychological violence, a violence that is less likely to induce smiles and that is more aggressive than comic.”

Press-kit, extract from the interview with Jan Kounen

クレジットタイトル詳細 (9)

製作代表 :

Frédérique Dumas, Éric Névé

フォトディレクター :

Michel Amathieu

報道担当(映画) :

François Hassan Guerrar

装飾 :

Michel Barthélémy

スチールマン :

Éric Caro

シナリオライター :

Joël Houssin

録音技師 :

Philippe Lecocq

Editor :

Bénédicte Brunet

作曲家 :

Schyzomaniac

技術面詳細

長編映画

ジャンル :

フィクション

言語 :

フランス語

出身 :

フランス, 日本

Original French-language productions :

不明

製作国 :

大部分フランス (フランス, 日本)

製作年 :

1996

フランス公開 :

18/06/1997

上映時間 :

1 時間 40 分

経過状況 :

公開済み

ニュメロ·デ Visa :

89.155

ビザ発行日 :

27/05/1997

CNC助成 :

はい

生産のフォーマット :

35ミリ

カラータイプ :

カラー

画面セット :

スコープ

Posters (1)

監督

映画祭でのセレクション (2)

アカプルコ フランス映画祭 - 1997

アカプルコ フランス映画祭 (メキシコ, 1997)

Selection

フランス長編映画