タチアナ・ド・ロネ原作を映画化した感動作。アウシュヴィッツに送られ、弟のために脱走した少女サラと、サラを追う女性記者ジュリア。それぞれの人生を交錯させつつ描く。主演はクリスティン・スコット・トーマス。第23回東京国際映画祭で監督賞と観客賞を受賞。 1942年のフランス、パリ。ユダヤ人の迫害が過激化するある日、幼い弟を納戸に隠したサラは、納戸の鍵を手にしたまま収容所へ送られてしまう。そして現代。アメリカ人ジャーナリストのジュリアは、ユダヤ人迫害事件を取材するうちに、あるユダヤ人家族の悲劇を知り……。
AIが作品の魅力を深く読み解いています
製作費: $10,000,000 (15億円)
興行収入: $17,511,906 (26億円)
推定収支: $7,511,906 (11億円)
※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: ジル・パケ＝ブレネール
脚本: タチアナ・ド・ロネ / セルジュ・ジョンクール / ジル・パケ＝ブレネール
音楽: Max Richter
制作: Frédérique Dumas-Zajdela / Stéphane Marsil
撮影監督: Pascal Ridao
制作会社: A Plus Image / Hugo Productions / Studio 37 / TF1 Droits Audiovisuels / France 2 Cinéma / TPS Star / La Région Île-de-France / Canal+ / France Télévisions
Gilles Paquet-Brenner has put together quite an engaging cast to tell this story of a woman with an hitherto unknown family history. "Julia" (Dame Kristen Scott Thomas) is a journalist with a French magazine who is assigned to write a story of the infamous rounding-up and deportation of the Jewish population of Paris in 1942. By chance, she and her husband are looking to move into his father's spacious apartment and she discovers something of it's history. It was rented, once, to the "Strazynski" family who were victims of that heinous event. As "Julia" begins to investigate further, she finds herself immersed in a poignant story of a family who made some fairly horrific sacrifices so that at least one of them could survive the atrocities to come. It was the young sister "Sarah" (Mélusine Mayance) who came up with the idea of hiding her brother "Michel" (Paul Mercier) in a cupboard. Once interred, though, she was terrified that he could be left alone, or found, or worse - so with the help of a sympathetic French guard manages to make her way, with a friend, to the farm of "Jules" (Niels Arsetrup) where he and his wife offer her protection from her persecutors and essentially treat her as their own. "Julia" now focusses on what happened next, discovering things perilously close to home as she goes along. Though Dame Kristen does well enough here, it's really the young Mayance who steals the scenes. Her performance as the young girl determined to rescue her sibling delivers the real thrust of just how indiscriminate the persecution of her people was. Age, sex, infirmity - the Nazis didn't care and that attitude is briefly, but well extolled, by images of folks on trains like cattle in transit. There must be loads of similar stories to be told like this, but this one is imaginatively photographed, thoughtfully paced and well worth a watch.
