あらすじ
Jeanne is a Freudian analyst who thinks she has detected homicidal tendencies in her nephew, aged 5. She also knows that - according to Freud's dictum - "everything is settled" by the age of five. No aspect of a child's personality is likely to alter in any significant way thereafter. Jeanne therefore decides to examine the remorseless development of her nephew's criminal persona, until such time as the crime she expects is committed : the nephew kills his aunt - and thus eliminates the only person who knew of his criminal tendencies. The young criminal, René, is represented by a female attorney named Solange. Her aim is to demonstrate the intricate play of subtle connections between the victim of a crime and the (future) criminal, over a period of more than ten years. Increasingly, the young man appears to consider that his lawyer and his deceased aunt are one and the same person. At the same time, the lawyer starts to see the young man as reincarnation of her son, who died in a car c...
クレジット
監督 (1)
俳優 (22)
映画製作・配給会社 (4)
- 製作代表 : Gemini Films
- 海外製作作品 : Madragoa Filmes
- Film exports/foreign sales : The Bureau Sales
- フランス国内配給 : Rezo Films
クレジットタイトル詳細 (18)
- 製作代表 : Paulo Branco
- Adaptation : Raoul Ruiz, Pascal Bonitzer
- Screenwriters : Raoul Ruiz, Pascal Bonitzer
- フォトディレクター : Stephan Ivanov
- 作曲家 : Jorge Arriagada
- Assistant directors : Stéphane Riga, Ariel Sctrick
- Editor : Valeria Sarmiento
- Sound recordists : Henri Maïkoff, Gérard Rousseau
- Costume designer : Élisabeth Tavernier
- 音声アシスタント : Philippe Donnefort
- 撮影技師アシスタント : Isabelle Dumas
- 撮影技師 : Gilles Porte
- 製作部長 : Philippe Saal
- 報道担当(映画) : Agnès Chabot
- スクリプト : Barbara Constantine
- Production Designers : Luc Chalon, Solange Zeitoun
- Foley artist : Nicolas Becker
- スチールマン : Moune Jamet, Luc Roux
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 : 形而上的実験映画
- テーマ : 殺人, 運命
- 言語 : フランス語
- 出身 : フランス, ポルトガル
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 (5)
受賞 (1)
代表団 (1)
About
One question to Raoul Ruiz
How did you work with Catherine Deneuve ?
"We've only made one film together. I'll be able to say more after the third. She implicates herself to a great extent. She read the book about Hermine van Hug during the shoot. She has a great deal of intuition. Often, I'd simply tell her to go from one spot to the other for her to understand the meaning of the scene. Sometimes a gesture was enough. At the end of the film, when she's mad, I simply asked her to make a slight hand movement. And that was enough to give a whole new dimension to the character." (Raoul Ruiz)