フランス、パリの街に大地震が発生。 直後、厚い霧が街を飲み込んでしまった。 霧には毒が含まれており、呼吸することで人の命を奪う。 自己免疫疾患を患いカプセルの中でしか生きられない娘を救うため、夫婦が必死に奮闘する
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製作費: $13,749,400 (21億円)
興行収入: $2,842,040 (4億円)
推定収支: $-10,907,360 (-16億円)
※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)。
監督: Daniel Roby
脚本: Jimmy Bemon / Guillaume Lemans / Mathieu Delozier
音楽: Michel Corriveau
制作: Guillaume Colboc / Nicolas Duval Adassovsky / Guillaume Lemans
撮影監督: Pierre-Yves Bastard
制作会社: Quad Productions / Section 9 / Christal Films / Esprits Frappeurs / TF1 Films Production / TF1 Droits Audiovisuels / Atitlan / Mitico / Ten Films / Canal+ / Ciné+ / TF1 / TMC / Téléfilm Canada / C8 Films
This is one of those apocalyptic movies that makes you think that if this planet ever did have enough of humanity and it’s toxic ways, it could quite possibly eradicate us all without too much trouble. This time, it’s Paris that gets the end of the world treatment as a deadly mist emanates from the ground and permeates all the houses killing all it meets. Luckily, “Mathieu” (Romain Duris) and his family live in a higher-rise and so can live above the fog that has consumed all below them, but for how long? He hasn’t just himself to worry about, either, as his wife “Anna” (the very sparingly seen Olga Kurylenko) and their bubble-wrapped daughter “Sarah” (Fantine Harduin) are also there as are his parents. Gradually, the water and the power stop working and they both have to get to street level and forage for food - amidst an increasingly dog-eat-dog (or whatever they can find) environment. What chance survival when the gas starts to rise? I like Duris, I think he’s an engaging actor who usually delivers and here he takes an admittedly not very remarkable script and turns out a character that we can empathise a little with. Initially I did wonder if it wasn’t a little unfair that the posh folks in the penthouses would all be spared, then I twigged that it was their role to die slowly of starvation and/or thirst - so that was ok. It can’t have had much budget and so nobody is going mad with visual effects which I thought gave it a slightly more menacingly authentic look to it, and the scenes at the end reminded me a bit of “Titanic”. It just goes to show that Hollywood needn’t have a monopoly of existential drama, and this one is better than most, I’d say.
