“若さは いつも 美しくて愚かしい”
名門校高校に通う17歳の少女を主人公に描くフランソワ・オゾン監督による官能ドラマ。ドイツ人青年と海辺で初体験を終えたイザベルは、その後放課後にホテルで不特定多数の男たちを相手に密会を重ねるようになり…。マリーヌ・ヴァクト主演。
製作費: $4,650,000 (7億円)
興行収入: $9,757,417 (15億円)
推定収支: $5,107,417 (8億円)
※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: フランソワ・オゾン
脚本: フランソワ・オゾン
音楽: Philippe Rombi
制作: Nicolas Altmayer / Eric Altmayer
撮影監督: Pascal Marti
制作会社: FOZ / Mars Films / France 2 Cinéma / Mandarin Cinéma
“Isabelle” (Marine Vacth) has been chatting with her younger brother “Victor” (Fantin Ravat) about her losing her virginity. It looks like it’s “Felix” (Lucas Prisor) whom she’s lined up and he duly obliges. He’s not just after sex, though, he wants to engage with her - but she has got what she wanted from him, and now heads to the city where she embarks on a career at €300 an head. She has no real interest in these older men, nor even in the sex - it’s the preamble and the memories that she likes. When one of her regulars has the ultimate orgasm, she has to flee before the police begin to investigate. They are not daft, and are quickly at her door where she, still seventeen, has to explain to her mother just where she got a great wad of Euros from. Furious, she (Géraldine Pailhas) insists that she see a therapist, but might she just be better off with a lad her own age like “Alex” (Laurent Delbecque) or, when she inserts her secret SIM into her phone and a number comes up, might she just go back to her old habits? What this doesn't try to explain is what triggered her behaviour. Her sex with “Felix” was perfectly consensual, if a little perfunctory, so what drove her to hook up with a collection of wealthy older gents? “Isabelle”, as a character, just isn’t developed at all here and so watching her inflagrante delicto with some random men just came across as some softly photographed porn. Vacth delivers confidently, but I couldn’t quite fathom the dynamic between her and her brother, and though she is quite convincing when we see her, Pailhas hasn’t really enough until the last twenty minutes to get her teeth into. It’s always good to see Charlotte Rampling on screen, and her presence towards the end gives us a slightly quirky sense of closure, but I was underwhelmed by this slightly repetitious drama.
