あらすじ
Rembrandt's early works matched the style of the times, so he met with fame the moment he arrived in Amsterdam, without really seeking it. He then marries the beautiful Saskia, and has everything he could wish for. Yet she dies years later, just when the painter's fall from grace begins. He refuses to compromise: when fashion demands light, colorful paintings he insists on thick impasto and shadows. In his private life he shuns all convention. Rembrandt is driven to bankruptcy and destitution by the powers that be, but solitude enables him to achieve the mystical fullness of his art.
クレジット
監督 (1)
俳優 (27)
映画製作・配給会社 (5)
- 製作代表 : Ognon Pictures
- 共同製作 : France 2 Cinéma
- Foreign production companies : Argus Film Produktie, TROS - Nederland 2, NRW - Filmstiftung Nordrhein Westfalen, Pain Unlimited GmbH
- Film exports/foreign sales : Pyramide International
- フランス国内配給 : Pyramide Distribution
クレジットタイトル詳細 (17)
- 製作代表 : Humbert Balsan
- Adaptation : Charles Matton
- Screenwriter : Sylvie Matton
- フォトディレクター : Pierre Dupouey
- 作曲家 : Nicolas Matton, Hervé Postic
- Assistant directors : Christopher Granier-Deferre, Corinne Le Hong, Eve Kirchner
- 編集担当 : François Gédigier
- Sound recordists : Bernard Bats, Patrice Grisolet, Dominique Hennequin
- Costume designer : Ève-Marie Arnault
- Foreign producers : Vibeke Windelov, Peter Van Vogelpoel, Eric Schutt
- 音声アシスタント : Pierre-Yves Bruneel
- 報道担当（映画） : Dominique Segall
- Assistant editors : Annick Raoul, Carlos Pinto
- スクリプト : Nancy Rivas
- 装飾 : Philippe Chiffre
- サウンド･ミキサー : Emmanuel Croset
- 演出助手 : Nicolas Picard
この映画を見る
Watch Rembrandt in VOD
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 : 人物描写
- テーマ : 芸術, 絵画
- 言語 : フランス語
- その他の国の共同制作者 : フランス
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 (3)
Istanbul Film Festival
トルコ, 2000
Huma Rights in Cinema Competition
セザール賞（フランス映画）
フランス, 2000
Best Production Design : Philippe Chiffre
Best Costume Design : Ève-Marie Arnault
受賞 (1)
代表団 (1)
About
When we talk about Rembrandt, we often speak of genius, but rarely of revolution, yet he was the first person in the history of Western art to have fundamentally shaken up the idea of what a painting should be, the first to have changed the relationship between a painting and the person who looks at it. Before Rembrandt, viewers looked at the illusion created by paint. With Rembrandt, we look at paint creating the illusion. Herein lies the revolution. His fierce commitment to new directions and his rebellious way of life, flaunting all conventions, aroused people's suspicions, then their wrath, until all of society was out to get him. It succeeded in doing so, treacherously joining forces to betray him, driving him to bankruptcy and ruin. I wanted the film to reveal all this, and many other little-known things, such as his difficult family troubles (further adding to the chagrin of so many betrayals) and all the children and women that he loved and lost. And yet Rembrandt never lost his monstrous appetite for the 'visible' when it came to life and painting, illustrating as no one else could Nietzsche's phrase "A great work is always made despite all odds."
Charles Matton – Director
