あまりにも大きな(小さな)愛
あらすじ
Emma, a 17-year-old girl, sends a synopsis to a film-maker she admires. Intrigued and charmed by it, Paul invites her to his home. The arrival of this groupie plays havoc with the established order. In no time, Emma has formed an attachment to Paul’s wife, Margot, and is acting as though she were their daughter. Friend and confident, rival and victim, seductress and manipulator in turn, she plays with their emotions and their lives. Paul comes out the most shaken but perhaps the least scarred by these apparently droll machinations.
クレジット
監督 (1)
俳優 (5)
映画製作・配給会社 (4)
- 製作代表 : Les Films Alain Sarde
- Co-productions : STUDIOCANAL, La région Franche-Comté
- Film exports/foreign sales : Tamasa Distribution
- フランス国内配給 : BAC Films
クレジットタイトル詳細 (13)
- 製作代表 : Alain Sarde
- Screenwriters : Jacques Doillon, Brune Compagnon
- フォトディレクター : Christophe Pollock
- Editor : Catherine Quesemand
- Sound recordists : Jean-Claude Laureux, Brigitte Taillandier
- Sound assistant : Brigitte Taillandier
- Production manager : Christine Gozlan
- 報道担当（映画） : Nathalie Mercier
- Foley artist : Jonathan Liebling
- キャスティング : Stéphane Foenkinos
- フランスの配給会社 : Jean Labadie
- サウンド･ミキサー : Dominique Hennequin
- スチールマン : Christian Simonpietri
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
- サブジャンル : コメディー
- テーマ : 愛
- 言語 : フランス語
- その他の国の共同制作者 : フランス (100.0%)
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
"I had a very successful year. I was extremely lucky to work with two such directors as Resnais and Doillon. It wakes you up. People get far too complacent in this profession. I know I can be a little bit too smooth. I have been criticised for being too controlled, too stiff. Working with Doillon really gave me back the taste for a certain rawness. With him, one really has to give oneself completely. He knocks you off your pedestal. You don’t just act, you have to go through a life lesson. It’s the opposite of “feelgood” cinema, as much for the actors as it is for the audience."
Lambert Wilson (excerpt from an article by Marie-Noëlle Tranchant in Le Figaro, 14 February 1998)
