Το αγοράκη (Le garçu)
Γερμανικά Τίτλος: Mein Vater, das Kind
Ισπανικά Τίτλος: El chico
Ρωσική τίτλος: Сорванец
Πρωτότυπος τίτλος: Le garçu
Ισπανικά Τίτλος: El chico
Ρωσική τίτλος: Сорванец
Πρωτότυπος τίτλος: Le garçu
Παραλλαγές εναλλακτικών τίτλων:
To agoraki
To agoraki
Familiendrama – Frankreich
Έτος παραγωγής: 1995
Διάρκεια: 102 λεπτά
Έτος παραγωγής: 1995
Διάρκεια: 102 λεπτά
Σκηνοθεσία: Maurice Pialat
Σεναριογράφος: Maurice Pialat, Sylvie Pialat
Κάμερα: Jean-Claude Larrieu, Myriam Touzé
Μουσική: Charles Henri de Pierrefeu, Jacques Sanjuan
Σεναριογράφος: Maurice Pialat, Sylvie Pialat
Κάμερα: Jean-Claude Larrieu, Myriam Touzé
Μουσική: Charles Henri de Pierrefeu, Jacques Sanjuan
Υπόθεση:
Sophie and Gérard are a couple in the process of splitting up. Their son Antoine, aged three and a half, lives with his mother, with his father showing up from time to time in boisterous mood and bearing gifts. During a holiday on the Île Maurice, Gérard is particularly obnoxious and the couple part for good. In Paris, despite his heavy workload, his new relationship and the rows with his ex-wife, Gérard finds time to see Antoine when he comes out of school and takes him on motorbike rides. Watching his son grow older, Gérard feels he has never given or received so much love.
In this film, the French director Maurice Pialat displays his roiling tenderness for his son, Antoine, who, at age four, holds his own onscreen alongside the formidable Gérard Depardieu. The boy Antoine is smart, witty, impulsive, and fiercely self-confident – a real handful – and his father Gérard is just as willful yet even more emotionally needy. When Gérard separates from the boy’s mother, Sophie, and both take up with new lovers, he lumbers heartbreakingly around Antoine, whom he desperately misses, like a wounded beast. Like the late Pialat (whose on-set furies were the stuff of legend), Gérard thrives on the conflicts he provokes, yet struggles mightily with himself to keep relations with Antoine steady and even – a battle greater than any Gérard can pick with those in his orbit. The film’s title, dialect for »the boy« in Pialat’s native Auvergne region, refers to someone other than Antoine: the vital, violent force of Gérard’s nature is revealed to have deep and mighty roots akin to the director’s own.
In this film, the French director Maurice Pialat displays his roiling tenderness for his son, Antoine, who, at age four, holds his own onscreen alongside the formidable Gérard Depardieu. The boy Antoine is smart, witty, impulsive, and fiercely self-confident – a real handful – and his father Gérard is just as willful yet even more emotionally needy. When Gérard separates from the boy’s mother, Sophie, and both take up with new lovers, he lumbers heartbreakingly around Antoine, whom he desperately misses, like a wounded beast. Like the late Pialat (whose on-set furies were the stuff of legend), Gérard thrives on the conflicts he provokes, yet struggles mightily with himself to keep relations with Antoine steady and even – a battle greater than any Gérard can pick with those in his orbit. The film’s title, dialect for »the boy« in Pialat’s native Auvergne region, refers to someone other than Antoine: the vital, violent force of Gérard’s nature is revealed to have deep and mighty roots akin to the director’s own.
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