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.
クレジット
監督 (1)
俳優 (20)
映画製作・配給会社 (5)
- 製作代表 : Noé Productions Int., La Chauve-Souris
- Co-productions : STUDIOCANAL, Tawak Pictures, France 3 Cinéma, Polygram
- 海外製作作品 : Comstock group
- Film exports/foreign sales : The Bureau Sales
- フランス国内配給 : Polygram
クレジットタイトル詳細 (9)
- 製作代表 : Frédérique Dumas, Éric Névé
- シナリオライター : Joël Houssin
- フォトディレクター : Michel Amathieu
- 作曲家 : Schyzomaniac
- Editor : Bénédicte Brunet
- 録音技師 : Philippe Lecocq
- 報道担当(映画) : François Hassan Guerrar
- 装飾 : Michel Barthélémy
- スチールマン : Éric Caro
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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 : アクション, スリラー
- 言語 : フランス語
- 出身 : フランス, 日本
- Original French-language productions : はい
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
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