あらすじ
22-year-old Frank, a student in Paris at an major business school, returns to his parents' home while he continues his professional training in the factory where his father has worked for 30 years. After years of independence, Frank renews his ties with his family, much to his father's joy. At the factory, Frank takes up a position in the Human Resources sector. With all he has learned at college, Frank initially feels confident that he'll be able to shake up the conservative management who's having a hard time negotiating cuts to working hours. He approaches his task with enthusiasm… until discovering that his efforts are serving as a screen to restructuring plans whereby 12 people, including his father, will lose their jobs. Frank splits from management and leaks the news to the union, who immediately go on strike. He wants his father to get involved in the struggle, but the older man, who'd put all his pride in his son's social success, refuses to join the movement. The violent co...
クレジット
監督 (1)
俳優 (12)
映画製作・配給会社 (4)
- 製作代表 : Haut et Court
- 共同製作 : Arte France Cinéma
- Film exports/foreign sales : Celluloid Dreams
- フランス国内配給 : Haut et Court
クレジットタイトル詳細 (8)
- Executive producers : Caroline Benjo, Carole Scotta
- Screenwriters : Gilles Marchand, Laurent Cantet
- Directors of Photography : Matthieu Poirot-Delpech, Claire Caroff
- 編集担当 : Robin Campillo
- Sound recordists : Philippe Richard, Antoine Ouvrier
- Executive Producer : Barbara Letellier
- 報道担当(映画) : Agnès Chabot
- 装飾 : Romain Denis
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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 : 心理ドラマ
- 言語 : フランス語
- Original French-language productions : 不明
- 製作国 : 100%フランス
興行収入・公開作品
ニュース&アワード
ニュース (2)
映画祭でのセレクション (17)
Lumiere Awards
フランス, 2001
Films français
受賞 (4)
セザール賞(フランス映画)
フランス, 2001
César Award for Most Promising Actor : Jalil Lespert
César Award for Best First Feature : Laurent Cantet
テッサロニキ 国際映画祭
ギリシャ, 1999
Prix du meilleur scénario : Gilles Marchand
Prix du meilleur scénario : Laurent Cantet
代表団 (4)
About
“Human Resources” admirably blends two types of tale and temporality. First there’s the descriptive one of life in a factory and office, with its share of underhanded dealing and daily aggravations, rarely depicted so accurately on film. Then there’s the symbolic one of a tragic heritage, of a genealogical principle that is dictated and warped by social status, in a context of loyalty versus disloyalty.
Charles Tesson (excerpt from an article in “Cahiers du cinéma” no. 542)