あらすじ
Lucien Lhotte is a very small man in his early thirties. He works for a big law firm. His job, which he performs most conscientiously, is to draft abusive letters for divorce cases. Having given up all hope of marriage for himself, he applies himself with vindictive ardor to the task of wrecking other people’s. Nevertheless, one very hot afternoon, he succumbs to the advances of a wealthy client, the voluptuous opera singer Paola Bendoni, and dares to make the amorous moves that his dwarfishness has deterred him from for so long. From that moment on, evil is slowly eroded by grace.
クレジット
監督 (1)
俳優 (8)
映画製作・配給会社 (3)
- Co-productions : Mainstream, Parma Films
- Foreign production companies : Classic S.R.L., AA Les Films Belges
- フランス国内配給 : Rezo Films
クレジットタイトル詳細 (9)
- シナリオライター : Yvan Le Moine
- フォトディレクター : Danny Elsen
- 作曲家 : Daniel Brandt, Alexis Shelegin
- Editors : Ursula Lesiak, Ludo Troch
- 録音技師 : Pierre Mertens
- Costume designer : Pierre-Yves Gayraud
- 報道担当(映画) : Tony Arnoux, André-Paul Ricci
- 装飾 : Philippe Graff
- スチールマン : Emmanuelle Germain
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技術面詳細
- タイプ : 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, ベルギー, イタリア
- Original French-language productions : 不明
- 製作国 : ごく一部フランス (フランス, ベルギー, イタリア)
- 製作年 : 1998
- フランス公開 : 23/12/1998
- 上映時間 : 1 時間 42 分
- 経過状況 : 公開済み
- ニュメロ·デ Visa : 89.128
- ビザ発行日 : 20/11/1998
- CNC助成 : はい
- 生産のフォーマット : 35ミリ
- カラータイプ : 白黒
- 画面セット : 1.66
興行収入・公開作品
ニュース&アワード
映画祭でのセレクション (2)
About
Lucien, thirty-something, wavers between a man-eating diva (Anita Ekberg) and a 12-year-old circus sprite by the name of Isis, but his choice is soon made and he embarks on a footloose life as a traveling circus clown. Comic at times and tragic at others, careening from twist to turn and from fantasy to commedia dell’arte, shot in black and white and with a dwarf in the leading role, Yvan Le Moine’s debut feature is a loose adaptation of a story by Michel Tournier (from “Le Coq de Bruyère”) and it takes risks. But its strangeness is its charm. With all the rough edges that its constant jumps in style entail, “The Red Dwarf” is stalwartly carried off by Jean-Yves Thual. He ranges from the comic to the unbearably moving and his beauty underpins the self-confessed baroqueness of the film. (From an article in “Aden”, December 23rd 1998)