ÉVALUATION IMDb
7,4/10
45 k
MA NOTE
Une équipe de tournage suit un voleur impitoyable et tueur sans coeur, mais les complications surviennent lorsque l'équipe du film perd son objectivité et commence à l'aider dans ses tâches ... Tout lireUne équipe de tournage suit un voleur impitoyable et tueur sans coeur, mais les complications surviennent lorsque l'équipe du film perd son objectivité et commence à l'aider dans ses tâches quotidiennes.Une équipe de tournage suit un voleur impitoyable et tueur sans coeur, mais les complications surviennent lorsque l'équipe du film perd son objectivité et commence à l'aider dans ses tâches quotidiennes.
- Prix
- 7 victoires et 5 nominations au total
Jacqueline Poelvoorde-Pappaert
- Ben's Mother
- (as Jacqueline Poelvoorde Pappaert)
Édith Le Merdy
- Nurse
- (as Edith Lemerdy)
Histoire
Le saviez-vous
- AnecdotesDue to budget problems, it took the filmmakers over a year to complete the film. The company ran out of money several times and shooting had to be postponed until more money could be raised. A lot of friends and family of the filmmakers contributed to the film, both behind and in front of the cameras.
- GaffesAt the beginning, Benoît says that four times a child's body weight is needed to sink a dead child. However, at the bar where they drink Dead Baby Boys, Benoît asks René for the weight ratio needed to sink a child, to which René replies "Twice," and Benoit says, "Right!"
- Autres versionsENDING SPOILERS - In some versions, the final shot, where everyone dies, lasts until the film runs out of the camera, which leaves a blank white screen after the film slips out of the camera's gate. In other versions, there is a dissolve between the the final shot and the blank screen at a much sooner point--and the viewer does not see the film slip out of the gate. The Criterion Collection edition released in 2002 has the latter version of the final shot.
- ConnexionsFeatured in Zomergasten: Episode #12.2 (1999)
- Bandes originalesIce Ice Baby
Written by David Bowie, Earthquake (as Floyd Brown), John Deacon, Mario 'Chocolate' Johnson (as Mario Johnson), Brian May, Freddie Mercury, Roger Taylor & Vanilla Ice (as Robert Van Winkle)
Performed by Vanilla Ice
Courtesy of Capitol Records, LLC
Contains a sample of "Under Pressure"
Performed by Queen & David Bowie
Courtesy of Hollywood Records, Inc. for USA & Canada and Courtesy of Island Records
Under license from Universal Music Enterprises
Commentaire en vedette
I consider it a brilliant film, but also very very disturbing. I'd sooner warn people about it than recommend it, even though it's an amazing achievement. So, for what it's worth, here's my viewing experience:
I heard about this film and was immediately hooked on the absurd idea of a serial killer, on the loose, as a willing documentary subject. I also heard that it was pitch-black comedy, and a commentary on violence, society, media, etc. -- blurring the lines between observing and becoming an accomplice and whatnot.
Well, in the first two acts it certainly delivers on the absurdity and the black comedy. Both Ben and the filmmakers are as matter-of-fact about his prolific killing as if it were a documentary about urban architecture, and even in the middle of his murderous acts he remains an engaging conversationalist with all sorts of attributes our culture values: extroversion, confidence, charm, a sense of humor, and fairly informed views on diverse subjects. The juxtapositions are disturbingly hilarious. He laments that African immigrants like the one he just shot don't have equal opportunities in this racist society, or that the color and layout of a certain housing project encourages violence and other social evils. He kills an entire family in their home, then reflects on the waste of human life and how there "should be a law" against that sort of thing. He explains a lot of aspects of his trade (like how to dispose of bodies and which victims are most likely to carry money), but leaves other elements in the dark. He first seems like a murderous variety of the common robber, but then plenty of killings seem to have no material motive at all, while others are clashes with rival killers (the absurdity reaches meta-levels at some points).
I was shocked by the violence and I was also laughing, and I was feeling uneasy about that.
Many reviews talk about how the documentary crew moves from "observers" to "accomplices", but any court of law would already consider them "accomplices" within one minute of the film starting, so that development didn't register so much to me. Sure they started taking a more active part in the carnage, but this wasn't something I considered an unexpected development.
What did register to me was the shift somewhere in the third act. Suddenly I was no longer watching a dark comedy. The violence escalates to a nasty scene that I couldn't even watch, and that left me disturbed and depressed for days. It's like the movie finally decided to show me what I was looking at and say, "well, are you still laughing? Are you?" And I realized: what was there about Ben that was engaging? Even his charming ways among his friends and family were just socially acceptable methods of getting his way and remaining the center of attention, just like killing people and starring in documentaries.
So among the unexpected things I found in this film was a chillingly believable portrait of a textbook sociopath. (The scary thing is that I know someone in my neighborhood who fits that profile as well.)
The film is brilliant and disturbing. Proceed at your own risk.
I heard about this film and was immediately hooked on the absurd idea of a serial killer, on the loose, as a willing documentary subject. I also heard that it was pitch-black comedy, and a commentary on violence, society, media, etc. -- blurring the lines between observing and becoming an accomplice and whatnot.
Well, in the first two acts it certainly delivers on the absurdity and the black comedy. Both Ben and the filmmakers are as matter-of-fact about his prolific killing as if it were a documentary about urban architecture, and even in the middle of his murderous acts he remains an engaging conversationalist with all sorts of attributes our culture values: extroversion, confidence, charm, a sense of humor, and fairly informed views on diverse subjects. The juxtapositions are disturbingly hilarious. He laments that African immigrants like the one he just shot don't have equal opportunities in this racist society, or that the color and layout of a certain housing project encourages violence and other social evils. He kills an entire family in their home, then reflects on the waste of human life and how there "should be a law" against that sort of thing. He explains a lot of aspects of his trade (like how to dispose of bodies and which victims are most likely to carry money), but leaves other elements in the dark. He first seems like a murderous variety of the common robber, but then plenty of killings seem to have no material motive at all, while others are clashes with rival killers (the absurdity reaches meta-levels at some points).
I was shocked by the violence and I was also laughing, and I was feeling uneasy about that.
Many reviews talk about how the documentary crew moves from "observers" to "accomplices", but any court of law would already consider them "accomplices" within one minute of the film starting, so that development didn't register so much to me. Sure they started taking a more active part in the carnage, but this wasn't something I considered an unexpected development.
What did register to me was the shift somewhere in the third act. Suddenly I was no longer watching a dark comedy. The violence escalates to a nasty scene that I couldn't even watch, and that left me disturbed and depressed for days. It's like the movie finally decided to show me what I was looking at and say, "well, are you still laughing? Are you?" And I realized: what was there about Ben that was engaging? Even his charming ways among his friends and family were just socially acceptable methods of getting his way and remaining the center of attention, just like killing people and starring in documentaries.
So among the unexpected things I found in this film was a chillingly believable portrait of a textbook sociopath. (The scary thing is that I know someone in my neighborhood who fits that profile as well.)
The film is brilliant and disturbing. Proceed at your own risk.
- marcoklaue
- 5 avr. 2013
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Détails
Box-office
- Budget
- 1 000 000 FB (estimation)
- Brut – États-Unis et Canada
- 205 569 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 15 176 $ US
- 18 janv. 1993
- Brut – à l'échelle mondiale
- 205 569 $ US
- Durée1 heure 35 minutes
- Couleur
- Rapport de forme
- 1.66 : 1
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By what name was C'est arrivé près de chez vous (1992) officially released in India in English?
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