Hygiène de l'assassin
あらすじ
"When I read Amélie Nothomb's novel," says the film's director François Ruggieri, "I immediately thought the story could be intensified if the film started at the end. First we discover that Prétextat Tach is dead, and then we tell his story backwards. I resorted to flashbacks because of the film’s double tale: the ongoing investigation into the suspected murderers and their motives, and the revelation of various aspects of the victim's life during his youth." Prétextat Tach is not only a famous and feted author, but has even won the Nobel Prize for Literature. Tach lives as a recluse in a huge, gloomy apartment. He has virtually hasn't seen anyone for years. When he learns that he's dying of cancer, he agrees to meet reporters in order to transmit his vision of things to mankind, to deliver his spiritual testament. The next day, he is found dead. Perhaps murdered. During the investigation, the police uncover some pretty racy details about the old ogre's past, but are they enough to incriminate the young reporter, Nina, who was the last person to see Tach alive?
クレジット
監督 (1)
俳優 (12)
映画製作・配給会社 (2)
- 製作代表 : TSF Productions
- フランス国内配給 : M.F.D.
クレジットタイトル詳細 (13)
- 製作代表 : François Ruggieri
- Adaptation : François Ruggieri
- シナリオライター : François Ruggieri
- フォトディレクター : Alex Lamarque
- 作曲家 : Jacques Davidovici
- Editors : Delphine Desfons, Marie-Pierre Renaud
- 録音技師 : Pierre Befve
- Costume designer : Ivone Teles Desclozeaux
- 原作者 : Amélie Nothomb
- 撮影技師アシスタント : Rodolphe Soucaret
- 報道担当（映画） : Vanessa Jerrom
- 音声編集担当 : Philippe Grivel
- 装飾 : Maamar Ech-Cheikh
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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 : 文学作品翻案, ドラマ
- 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
- フランス公開 : 24/02/1999
- 上映時間 : 1 時間 20 分
- 経過状況 : 公開済み
- ニュメロ·デ Visa : 91.212
- ビザ発行日 : 02/10/1998
- CNC助成 : はい
- 生産のフォーマット : 35ミリ
- カラータイプ : カラー
- 画面セット : 1.85
- Audio format : ドルビーSR
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)
Cairo - International Film Festival
エジプト, 1999
フェスティバルのフェスティバル
About
When I read Amélie Nothomb's novel, I immediately thought the story could be intensified if the film started at the end. First we discover that Prétextat Tach is dead, and then we tell his story backwards. I resorted to flashbacks because of the film’s double tale: the ongoing investigation into the suspected murderers and their motives, and the revelation of various aspects of the victim's life during his youth. Tales within tales unfold. Nina’s interview and videotape of Tach progressively reveal the story of this strange man, and more comes to light when she is questioned by police. Other decisions came about for technical reasons: should part of the film be shot in black-and-white, the other part in color? Etcetera... (François Ruggierri – Director)
