The Stand-in / A Belly Full
あらすじ
Once upon a time, 1967 towards the end of summer…a couple appear at the doord of an orphanage. It turns out that the couple own a bistro at the edge of a forest that does a brisk business at lunchtime. The couple say that they arelooking for a nice girl to replace their daughter who normally lent them a hand at noontime. They say, theiur daughter had to go to Toulouse to take care of a maiden aunt who had suddenly fallen sick. " I am affraid that you have a mistake " says the directress of the orphanage. " This is a special orphanage st aside for girls of colonial ancestry ". The couple reply that color was only skin deep…That black, white, mixed it was all the same to them. They say that besides, as long as they were there anyway, maybe they should look around. They ask the directress did she have a girl who might be suitable ?…
クレジット
監督 (1)
映画製作・配給会社 (5)
- 製作代表 : Euripide Productions
- Co-productions : Havas Images, Voleurs d'Ombre Productions, Harlekijn
- エグゼクティブプロダクション : Euripide Productions
- Film exports/foreign sales : Playtime
- フランス国内配給 : Goutte d'Or Distribution
クレジットタイトル詳細 (10)
- シナリオライター : Melvin Van Peebles
- フォトディレクター : Philippe Pavans De Cecatty
- 作曲家 : Melvin Van Peebles
- Editor : Catherine D'Hoir
- 録音技師 : Philippe Richard
- Costume designer : Claire Gérard-Hirne
- エグゼクティブプロデューサー : Jean-Pierre Saire
- 報道担当（映画） : Jeanine Euvrard
- 装飾 : Kim Nezzar
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
- 出身 : フランス, オランダ
- Original French-language productions : 不明
- 製作国 : 大部分フランス (フランス, オランダ)
- 製作年 : 2000
- フランス公開 : 28/06/2000
- 上映時間 : 1 時間 39 分
- 経過状況 : 公開済み
- ニュメロ·デ Visa : 93.322
- ビザ発行日 : 03/05/2000
- 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
興行収入・公開作品
テレビ放送
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ニュース＆アワード
映画祭でのセレクション (3)
About
It was sometime around November 1998. Melvin Van Peebles was arriving from the U.S., and I was waiting for him in Paris to take him to the Three Continents Festival in Nantes, where he was receiving an award. I explained the financial situation for “The Stand In,” and he said, “Let’s shoot in DV.” I’d seen other films by Melvin, and I’d been impressed by the way he made the images sing and dance, lending a special style to his movies. So shooting in video and using all the post-production possibilities of digital editing instantly seemed to match Melvin’s compositional style. The little camera was treated like a big one by actors and crew alike. In late 1999 we received the 35mm negative. No grading was even needed on the answer print – it was perfect.
Jean-Pierre Saire, executive producer, excerpt from press kit
