Phim lẻ
Nội dung
Vào tháng 11 năm 1919, hai người lính - một nghệ sĩ bị biến dạng nhưng rực rỡ và một kế toán viên cũ - bắt đầu một tổ chức tưởng niệm. Nhưng trong tiếng Roared Twenties Pháp, những cuộc phiêu lưu của họ sớm biến nguy hiểm.
Thông tin sản xuất
October 25, 2017
Ngày phát hành
$23,000,000
Ngân sách
$15,100,000
Doanh thu
Canada
Region (CA)
France
Region (FR)

Gaumont
FR
Stadenn Prod
FR
Manchester Films
FR

France 2 Cinéma
FR

Canal+
FR

Ciné+
FR

France Télévisions
FR
Entourage Pictures
FR
Đạo diễn
Updating
Diễn viên
Nahuel Pérez Biscayart
Édouard Péricourt
Albert Dupontel
Albert Maillard
Laurent Lafitte
Henri Pradelle
Niels Arestrup
Marcel Péricourt
Émilie Dequenne
Madeleine Péricourt
Mélanie Thierry
Pauline
Héloïse Balster
Louise
Philippe Uchan
Labourdin
André Marcon
The Police Officer
Michel Vuillermoz
Joseph Merlin
Kyan Khojandi
Dupré
Carole Franck
Sister Hortense
Gilles Gaston-Dreyfus
The Mayor
Jacques Mateu
The Prefect
Philippe Duquesne
The Station Officer
Denis Podalydès
The Minister (voice)
Fred Epaud
The Catalog Deliverer
Axelle Simon
Mrs. Belmont
Augustin Jacob
The Parisian Surgeon
Frans Boyer
The Côte 113 Sergeant
Eloïse Genet
Cécile
Bing Yin
Chinese #1
Xiaoxing Cheng
Chinese #2
Alexis Barbosa
A Soldier
Dan Cardoso
A Soldier
François Girard
The Stretcher Bearer
Mathieu Naert
A Soldier
Trailer
Phim tương tự cho bạn

Siêu Quậy Marsupilami
Marsupilami
6.3 | Hài Hước • Phiêu Lưu

Bảo Mẫu Phù Thủy
Nanny McPhee
6.6 | Hài Hước • Gia Đình

Ba Lần Trắng Tay
Three Times Nothing
6.2 | Hài Hước

Vỏ Cứng, Lõi Mềm
Hard Shell, Soft Shell
6.3 | Hài Hước

Cách Giết Để Giàu
How to Make a Killing
6.7 | Hài Hước

Không Thể Thay Thế
The Country Doctor
6.5 | Hài Hước • Chính kịch

Làn Sóng Mới
Nouvelle Vague
7.4 | Hài Hước • Chính kịch

Cha Mẹ Chị và Em
Father Mother Sister Brother
6.8 | Hài Hước • Chính kịch

Eephus
Eephus
6.8 | Hài Hước • Chính kịch

Xin Lỗi, Em Yêu
Sorry, Baby
7.1 | Hài Hước • Chính kịch

Màu Thời Gian
Colours of Time
7.5 | Hài Hước • Chính kịch

Bước Đường Cùng
No Other Choice
7.5 | Hài Hước • Hình Sự

Rắc Rối Sâm Panh
Champagne Problems
6.0 | Hài Hước

Lời Chào Cuối Cùng
We Will Go
6.7 | Hài Hước • Chính kịch

Búp bê
Bambola
4.5 | Hài Hước • Chính kịch

A Genius, Two Friends, and an Idiot
A Genius, Two Friends, and an Idiot
6.2 | Hài Hước

Oss 117: Lạc Lối Ở Rio
OSS 117: Lost in Rio
6.8 | Hành Động • Hài Hước

Tổ Điệp Viên
OSS 117: Cairo, Nest of Spies
7.0 | Hành Động • Hài Hước

French Lover
French Lover
6.0 | Hài Hước

Fanfan la Tulipe
Fan-Fan the Tulip
7.1 | Hài Hước • Chiến Tranh

Panayotis Pascot: Suýt soát
Panayotis Pascot: Almost
7.8 | Hài Hước

Exploits of a Young Don Juan
Exploits of a Young Don Juan
5.6 | Hài Hước • Chính kịch

Fan Nữ Số Một
The Biggest Fan
4.2 | Hài Hước

Năm mới kẹt với nàng
Stuck with You
5.4 | Hài Hước
Screens & Gallery










International Critic Reviews

An extremely stylish film showing remarkable cinematographic creativity and vision, even if the story does not truly measure up to the visuals. 8/10

**How a Film is Made** Here is a film crafted with pure talent, overflowing creativity, an exceptional cast, and dazzling camera work. The director—who also stars in it and wrote the screenplay, adapting a novel—Albert Dupontel has the virtue of telling us, in a comedic tone (sometimes employing dark humor), the drama of the war's forgotten, the "cannon fodder" of armies who are neglected and abandoned by officers, the healthcare system, governments, and a whole network of scoundrels who profit from the postwar. Fortunately, neither the synopsis nor the trailer reveals or suggests anything about the plot, which is very, very original. I believe this film should be seen with the least possible plot information, because the novel by Pierre Lemaitre has been transferred to the screenplay with great ingenuity, and any development of the plot in a review would diminish the magic the story possesses. Let's say, broadly speaking, there is a sequential thread of characters who do not appear in vain from the beginning and who later fit into a virtuous circle, making the ending a brilliantly resolved mechanism for the film to conclude as it began. Perhaps the screenplay can be criticized for its psychologically abrupt definitions (the bad guys are extremely bad, the good guys are victims) and for its somewhat implausible coincidences, but if you engage with the mirror game the director proposes, you can likely overlook this Manichaeism and be fascinated by the offering. As a co-star, the Argentine Nahuel Pérez Bizcayart delivers a dazzling performance using only his eyes and hands, as he is almost always under some kind of mask. The special effects are frankly magnificent and serve a camera in permanent, dizzying crane shots that rise and fall to show us mass scenes (the 3 sequence shots at the beginning are anthological), allowing for a reconstruction of the era that would be impossible to achieve without using superimpositions. The cinematography and music captivate you, and as if that were not enough, it has one of the most emotional endings I will remember forever. A true feast for the senses, a work that will move your spirit and feelings, and which I warmly recommend.