The Hinterland
あらすじ
After ten years away, Jacques Pruez,an unmarried, 50-year-old, modestly successful actor, returns to his home village to comfort his dying mother. His father Yvan, a family barber who's counting on his "successful" son to support him in his old age, refuses to believe that his wife is sick and insists that her doctors are killing her. She dies, and Jacques finds out that Yvan is not his real father. Besieged by memories of his childhood, the village and the past, Jacques wanders the streets at night, reliving the moments that set him apart from the rest...
クレジット
監督 (1)
俳優 (8)
映画製作・配給会社 (3)
クレジットタイトル詳細 (15)
- 製作代表 : Laurent Bénégui
- シナリオライター : Jacques Nolot
- Director of photography : Agnès Godard
- Editor : Martine Giordano
- 録音技師 : Jean-Louis Ughetto
- Costume designer : Élisabeth Tavernier
- 音声アシスタント : Ken Yasumoto
- 撮影技師アシスタント : Natacha Cagnard
- 報道担当（映画） : Agnès Chabot
- Assistant editors : Isabelle Manquillet, Sophie Reine
- スクリプト : Josiane Morand
- 装飾 : Patrick Durand
- フランスの配給会社 : Stéphane Célérier
- サウンド･ミキサー : Jean-Pierre Laforce
- スチールマン : Alain Dagbert
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UNIVERSCINE
メディアギャラリー
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
- Original French-language productions : 不明
- 製作国 : 100％フランス
- 製作年 : 1998
興行収入・公開作品
BRUSSELS
ニュース＆アワード
ニュース (1)
映画祭でのセレクション (9)
受賞 (1)
About
“Jacques, the prodigal son who ‘went up to Paris to go on the stage’, returns to his native village in the southwest of France. His mother dies and Jacques attends the funeral in the gentle village atmosphere, while mending the broken ties with his family, friends, and other characters from his youth. There is something reminiscent of Pialat, minus his darkness, in this naturalistic self-portrait of a man alone with his life and the homosexuality that sets him apart. Nolot, Téchiné’s actor and co-writer, acts in and directs a debut feature that is delicate and daring at once, a film that rings true in its confessions of secrets and reflections of everyday life, which it grasps with great tact and humor. The film slowly builds up in strength and leaves us with shuddering hearts, like a poem whose last lines are the most unsettling.”
(Article in “Le Point”, August 28th 1998)
