パリ、18区、夜。』で熱狂的なファンを生んだクレール・ドゥニ監督作。両親の離婚によって引き離された兄と妹が、互いに反発し、傷つけながら心のどこか で求め合う姿を繊細に描く。主人公の性的妄想を捉えた官能的な映像が見事。港町マルセイユ。愛する母の死後、移動ピザ屋で生計を立てながら、一人で暮らす ボニ。彼は毎晩、豊満な肉体のパン屋の女房を犯すことを夢に見ていた。そんなある日、寄宿学校を脱走した妹が突然転がり込んでくるが...
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Even though you didn't want to shoot a portrait of Marseilles, did you wonder how to go about filming the city?
I didn't want to be tempted to film Marseilles. No long pans over the city, no extra establishing shots. I didn't want that. I wanted to keep my characters at the heart of the film. The exception was the sea. The film opens in the water of a swimming-pool and I wanted it to end in water... I had the feeling that in Marseilles, you always know the sea's there, even if you don't see it, even if you don't always have to check that it' s there. It's like a liquid flowing through the whole city: I viewed it as the film's amniotic liquid. But throughout the shoot, we kept wondering: how could we avoid stressing Marseilles? The characters are all locals, they forget to look at their city... And Boni is buried in his own life, he has no time to look at the city. The city is out of shot. Everything off camera is the city. You can tell it's there but it's not in the frame. (Claire Denis, from the press kit)