あらすじ
Leo was born in Borneo, in the orangutan orphanage founded by his father. It is the only place he has ever known. He is 25 when his father dies and the Indonesians take over the orphanage. Leo feels like an outcast. He boards a freighter, bound for a “civilization” he knows nothing about, as his father taught him only music and poetry. He is neither a Tarzan nor a wild child, but a young guy with a pure, idealistic vision of the world. He arrives in France and meets a range of characters who embody the shortcomings of today’s society.
クレジット
監督 (1)
俳優 (19)
映画製作・配給会社 (4)
- 製作代表 : Madeleine Films
- Co-productions : Productions et Éditions Cinématographiques Françaises (PECF), Parano Films, France 2 Cinéma
- Film exports/foreign sales : Warner Bros. (France)
- フランス国内配給 : Warner Bros. (France)
クレジットタイトル詳細 (14)
- 製作代表 : Gilbert De Goldschmidt
- Screenwriters : Didier Dolna, Patrick Schulmann
- フォトディレクター : Dominique Gentil
- Assistant directors : Dominique Delany, Franck Vestiel
- 編集担当 : Baxter
- Sound recordists : Éric Rophé, Emmanuel Augeard, Éric Bonnard
- Costume designers : Catherine Boisgontier, Marie Bourgeon
- 音声アシスタント : Frédéric Bobillier
- 撮影技師 : Guy Famechon
- 報道担当(映画) : François Hassan Guerrar, Aude Thomas
- 音声編集担当 : Joël Jacovella
- 装飾 : Olivier Raoux
- サウンド・ミキサー : Éric Bonnard
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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
- サブジャンル : 人生ドラマ
- 言語 : フランス語
- その他の国の共同制作者 : フランス
- Original French-language productions : 不明
- 製作国 : 100%フランス (フランス)
- 製作年 : 1998
- フランス公開 : 16/12/1998
- 上映時間 : 2 時間 10 分
- 経過状況 : 公開済み
- ニュメロ·デ Visa : 92.984
- ビザ発行日 : 28/10/1998
- 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 : 1.85
興行収入・公開作品
ニュース&アワード
About
Patrick Schulmann has things to tell us: about ‘everyday delinquency, homelessness, the rise of the National Front, the rat race, workplace rivalry, the debasement of art...’ The list in the press kit goes on, sounding a little like a recipe for a stodgy pot-pourri of discontent. But the film works like a charm. Sagamore Stevenin (son of actor Jean-François) plays Leo deadpan with a deeply likable, straight-faced naiveté and we happily go along with him. Eager to please but not gutless, Schulmann’s movie has a generous profusion of plots and a fertile imagination that are a joy to behold, while its ‘noble savage’ message and slap-happy putdown of modern society provide fuel for plenty of post-film debate. (“Libération”, December 16th 1998)