FindKey

FindKeyは、100万件を超える映画・ドラマ作品、そして数百万人の人物データと独自の16類型CTI診断を統合した、日本初の感情特化型映画レコメンドエンジンです。

Find (見つける) + Key (鍵・正解)

映画に限らず、人生のヒントを見つける場所です。

FindKeyについてロケ地 (試験中)利用規約プライバシーポリシーお問い合わせ
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ピータールー マンチェスターの悲劇
ピータールー マンチェスターの悲劇

ピータールー マンチェスターの悲劇

“1819年、英国マンチェスターで起きた〈ピータールーの虐殺〉を、名匠M・リー監督が映画化。第75回ヴェネチア国際映画祭コンペ部門に出品され、高い評価を得た力作。”

20182h 34m★ 6.8履歴ドラマ

あらすじ

1815年、ヨーロッパ諸国を巻き込んだナポレオン戦争がようやく終結。英国は勝利したものの、経済が疲弊してちまたには失業者があふれ、民衆は貧困と飢餓にあえいでいた。選挙権を持たない彼らが、改革と自由を求めて抗議活動を活発化させる中、1819年夏、マンチェスターの広場で、著名な活動家のヘンリー・ハントも参加してデモ集会が開催されることに。しかし、そこに集結した6万人もの人々を武装兵たちが無慈悲に襲う。

作品考察・見どころ

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興行成績

製作費: $18,000,000 (27億円)

興行収入: $2,153,029 (3億円)

推定収支: $-15,846,971 (-24億円)

※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)。

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キャスト

ロリー・キニア
ロリー・キニア
Henry Hunt
マキシン・ピーク
マキシン・ピーク
Nellie
Pearce Quigley
Pearce Quigley
Joshua
David Moorst
David Moorst
Joseph
Rachel Finnegan
Rachel Finnegan
Mary
Tom Meredith
Tom Meredith
Robert
Simona Bitmate
Simona Bitmate
Esther
Robert Wilfort
Robert Wilfort
Lord Liverpool, the Prime Minister
Karl Johnson
Karl Johnson
Lord Sidmouth, the Home Secretary
Sam Troughton
Sam Troughton
Mr Hobhouse

スタッフ・制作会社

監督: Mike Leigh

脚本: Mike Leigh

音楽: Gary Yershon

制作: Georgina Lowe / Lizzie Francke / ゲイル・イーガン

撮影監督: Dick Pope

制作会社: Film4 Productions / Lipsync Productions / Thin Man Films / BFI

TMDB ユーザーのレビュー

Peter McGinn
Peter McGinn
★ 8

Fine historical film, though it has less emotional depth than other Mike Leigh movies. That makes sense, for his movies have never been described as an epic before. I often state when I write reviews that I am patient than many viewers when it comes to slower paced movies. Also, since I write novels in my spare time and feature plenty of dialogue, I don't mind a lot of talking in movies either. I think this movie lacked some of the emotional impact of other Mike Leigh films, perhaps due its scope. You know how it is; people can shrug off a disaster elsewhere in the world when it kills 500 people, but if they hear a personal story well told about a single victim, the tears may fall. There are a lot of people in this movie. There were so many extras that I half expected to see myself in one of the crowd scenes. With so many different main characters and perspectives, I didn't find myself forming a connection with any of them. But I liked the film just fine, and I never would have sat through a documentary on the subject.

CinemaSerf
CinemaSerf
★ 6

It's quite interesting to consider that even in the mother of western democracies, as recently as two hundred years ago most men did not have the vote in the UK, and great swathes of urban Britain had no representation at all. Mike Leigh is perhaps a little heavy handed here, but he does offer us an at times poignant glimpse into the poverty in which the working class lived in England's north west whilst the governing class lived a life of opulence and privilege under the Prince Regent. Rory Kinnear is the renowned orator "Hunt" who travels the length and breadth of the land advocating a peaceful, positive, realignment of power. A trip to Manchester proves to be the ultimate catalyst for the increasingly panic-stricken authorities who - with events in Paris forty years early still prescient - have decided that these increasingly popular gatherings must be stamped out. Leigh has assembled a workmanlike cast here - there isn't really a star, as such - and that helps better illustrate that this is a story about the ordinary man. I say man, because we are a long way from female emancipation being on the back burner, even - indeed the stronger characters here - "Mary" (Rachel Finnegan) and "Nellie" (Maxine Peake) are entirely focussed on empowering their "men folk". What this film does not present though, is any sort of balance to the historical aspects of this conflict. It exaggerates the indifference and excesses of the landed gentry whilst offering a rather naive portrayal of some those advocating revolution. Like many films that present a political assessment of an hugely complex set of scenarios, it ends up reflecting the views of the auteur and that's a shame. This is a story of profound societal evolution that could have been more effective had the establishment been given slightly more airtime and been treated slightly less one-dimensionally and judgmentally. The dialogue is at times, though, really quite powerfully potent and this is a very authentic-looking story that history ought not to readily forge and that is well worth a watch.

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