“1968年、パリと愛し合った…。”
1968年、五月革命に揺れるパリ。アメリカ人留学生マシューは、映画フリークの学生たちによるデモの最中に魅惑的な双子の姉弟イザベルとテオに出会い、急速に親密になっていく...。
製作費: $15,000,000 (23億円)
興行収入: $15,100,000 (23億円)
推定収支: $100,000 (0億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
FindKeyのエディトリアルチームがこの作品の深層や歴史を解説しています。
監督: ベルナルド・ベルトルッチ
脚本: Gilbert Adair
制作: ジェレミー・トーマス
撮影監督: Fabio Cianchetti
制作会社: Recorded Picture Company / Fiction / Peninsula Films / HanWay Films / Fox Searchlight Pictures / Medusa Film / Tele+
It's Paris in the springtime, in 1968, and the students are revolting. "Matthew" (Michael Pitt) is visiting from the USA and he encounters the siblings "Theo" (Louis Garrel) and "Isabelle" (Eva Green) with whom he shares a fascination with movies. They invite him to their home for dinner just as their parents are heading off on trip. It's clear to the visitor that these two have a curiously intimate relationship. Not incestuous, but not a kick in the shirt off it. What now ensues sees "Matthew" ensnared in their games that have basically few holds barred - an orgy of the body and the mind fuelled by curiosity, lust and fine red wines. There is something quite unique about the way in which Bertolucci uses sex (and there's plenty of nudity and sex here) as a tool to explore the character of these three young - and beautiful - people, probing their limits and their ideals in a provocative fashion. Until the very end, I'm not sure the ongoing civil disobedience has much to do with this, indeed I thought maybe that was a way of trying to add some intellectual gravitas to a narrative that is often thinly contrived and consists largely of what would have to be described as soft-porn. It's shocking at times, but the characters are completely undercooked with Garell, especially, having little to do except gradually come to resent the burgeoning sexual relationship developing between his sister and the stranger. It's not a good film, but it is a brave film and may well mark the end of the application of Victorian attitudes and mores to 21st century cinema.
