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Les Salauds - Dreckskerle

Originaltitel: Les salauds
  • 2013
  • 16
  • 1 Std. 40 Min.
IMDb-BEWERTUNG
6,1/10
3921
IHRE BEWERTUNG
Les Salauds - Dreckskerle (2013)
 Marco returns to Paris after his brother-in-law's suicide, where he targets the man his sister believes caused the tragedy - though he is ill-prepared for her secrets as they quickly muddy the waters.
trailer wiedergeben1:42
1 Video
76 Fotos
DramaRomanze

Füge eine Handlung in deiner Sprache hinzuMarco returns to Paris after his brother-in-law's suicide, where he targets the man his sister believes caused the tragedy - though he is ill-prepared for her secrets as they quickly muddy t... Alles lesenMarco returns to Paris after his brother-in-law's suicide, where he targets the man his sister believes caused the tragedy - though he is ill-prepared for her secrets as they quickly muddy the waters.Marco returns to Paris after his brother-in-law's suicide, where he targets the man his sister believes caused the tragedy - though he is ill-prepared for her secrets as they quickly muddy the waters.

  • Regie
    • Claire Denis
  • Drehbuch
    • Jean-Pol Fargeau
    • Claire Denis
  • Hauptbesetzung
    • Vincent Lindon
    • Chiara Mastroianni
    • Julie Bataille
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,1/10
    3921
    IHRE BEWERTUNG
    • Regie
      • Claire Denis
    • Drehbuch
      • Jean-Pol Fargeau
      • Claire Denis
    • Hauptbesetzung
      • Vincent Lindon
      • Chiara Mastroianni
      • Julie Bataille
    • 20Benutzerrezensionen
    • 109Kritische Rezensionen
    • 69Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 Gewinn & 4 Nominierungen insgesamt

    Videos1

    Theatrical Trailer
    Trailer 1:42
    Theatrical Trailer

    Fotos76

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    Topbesetzung29

    Ändern
    Vincent Lindon
    Vincent Lindon
    • Marco Silvestri
    Chiara Mastroianni
    Chiara Mastroianni
    • Raphaëlle
    Julie Bataille
    • Sandra
    Michel Subor
    Michel Subor
    • Edouard Laporte
    Lola Créton
    Lola Créton
    • Justine
    Alex Descas
    Alex Descas
    • Dr. Béthanie
    Grégoire Colin
    Grégoire Colin
    • Xavier
    Florence Loiret Caille
    Florence Loiret Caille
    • Elysée
    Christophe Miossec
    • Guy
    Hélène Fillières
    Hélène Fillières
    • Banker
    Eric Dupond-Moretti
    Eric Dupond-Moretti
    • Lawyer
    Sharunas Bartas
    Sharunas Bartas
    • L'armateur étranger
    Nicole Dogué
    Nicole Dogué
    • Police Inspector
    Claire Tran
    Claire Tran
    • L'infirmière
    Elise Lhomeau
    Elise Lhomeau
    • La babysitter
    Yann Antoine Bizette
    • Le petit Joseph
    Jeanne Disson
    Jeanne Disson
    • Audrey
    Laurent Grévill
    Laurent Grévill
    • Jacques
    • Regie
      • Claire Denis
    • Drehbuch
      • Jean-Pol Fargeau
      • Claire Denis
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen20

    6,13.9K
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    Empfohlene Bewertungen

    6sergelamarche

    Strange

    I think the title describes almost all of the characters. The editing and the story are hard to follow. All that puts off the senses and no matter how hard you look, there are no heroes, on the contrary.
    7l_rawjalaurence

    Modern-Day Film Noir Set in Paris

    BASTARDS focuses on the experiences of sea-captain Marco (Vincent Lindon), who returns from his ship to find his sister Sandra (Julie Bataille) in trouble. He moves into the apartment above rich business person Edouard (Michel Subor), whom Sandra holds responsible for her troubles. As Marco becomes more involved in the case, so he discovers to his cost that the intrigues are more complicated than he anticipated. Set in contemporary Paris, Claire Denis creates a claustrophobic thriller, full of close-ups and tight two-shots in which the protagonists' faces seldom fall out of view. This helps reinforce the film's principal theme, which is to show how actions often have unforeseen and unintended consequences. Although Marco believes he is doing the right thing, his actions are misunderstood to such an extent that Edouard moves away, taking Sandra's little son with him. Perhaps this is due to Sandra's penchant for not telling Marco the truth about herself and her life; but Denis seems to suggest that Marco fails to consider the ways in which his behavior might be viewed by others. We never know who the "bastards" of the film actually are; perhaps it's one of those terms of abuse that people apply to others, especially when they are in tight situations. The plot remains taut throughout, and there is an unexpected dénouement that deserves our attention. Definitely worth a watch.
    chaos-rampant

    Invoking ambiguity as a demon

    Oh boy. Truly brace yourself for this one.

    Read nothing about it, know that vaguely it is about evil, and just plunge into it. Others will in due time cleanly explain the plot, if they haven't already. In a nutshell there's a mother who is partly responsible for letting her daughter stray in drugs and prostitution and her brother who comes to investigate what happened.

    But the point is to not have a scaffold as you watch. Yes, we were all as confused as you up to some point, it's designed that way. There's no pretension in the sense of trying to make you feel stupid for not 'getting it'. You have to simply stay there as sense bleeds into anxious confusion. It's what the film is about and made so it happens across the whole film to you.

    Okay, the idea is that some things are so horribly dark and beyond sense that deviously they rearrange the soul of the viewer and create a film like this to shroud themselves in. Lynch works in a comparable way. To avoid spoilers, let's just say here it's tied to sexual abuse.

    What happened is so unfathomable it appears to curse the reality of the film in the following way: some things happen now, some in one character's dreams, some in another's, some are woven together to conceal what they suggest. It's a deliberate choice for example to have the sister and mistress next door look alike so when the brother has sex with her we register the hum of an unspoken evil - this is so bold, and risky, and at the expense of an easy viewing. Denis wants you to feel this hum. Risky because maybe 1 in 10 viewers will embrace the cognitive dissonance.

    Some parts completely bend causality: so when the man goes to his sister's house to sell his Alfa Romeo to a husband we know is dead at some point, trying to place that in the timeline causes us to hallucinate. Some are shot to appear as if in the past: the notion that the brother and mistress perhaps knew each other and scheme together, causing us to hallucinate a possible past story.

    Another is placed in the following startling way: a mysterious snippet of a few seconds shows policemen search the woods only to find the boy's yellow bicycle, it's never apparent where this fits in the flow until we've seen the whole thing through and assume it was probably the mother's anxious dream, yet in the moment and afterwards we process it with the same premonition it's being dreamed. Has it happened? Is it going to?

    Just the other day I wrote about another Denis film, how trying to present an inner transformation indirectly brought her in line with every other filmmaker currently worth knowing in the search for a new visual logic for the transcendent stuff. Inland Empire is Lynch's latest answer to that. Malick works in the calligraphic eye. Reygadas recently had a an ambitious failure after a great success.

    Little did I know she was incubating something as profoundly challenging as this. Here we are made to hallucinate, to create a troubling past, to get it wrong in the attempt to get it right - mirroring the brother's investigation. It haunts because what's wrong here that appears this way?

    A film like Seven is the most basic setup of this effort to decipher. We are able to predict the machinations (Biblical murder) but not not why or when. So we wonder and stress. Nothing's wrong with us, it's just some evil out there, the world makes perfect sense without it. On the higher end of sophistication there's Mulholland Dr. where we begin experiencing mysterious events but something's amiss about their mechanism, something is changing the whole sense of the world.

    This is similar, something from the inside is preventing sense. It won't have anywhere near Mulholland's visibility, because it's shot with a realistic bend to make everything appear on the same ground. Denis was lucky to have known Tarkovsky where the inspiration for the visual logic appears to come from, but she hasn't mastered flow the same way. She isn't seductive like Lynch. There are no mystical elements, only a drab mystery that confounds.

    Some things are so intimately dark we create ignorance to prolong having to know. So we watch this in the same ignorance and confusion until it reveals itself to be about an incomprehensible evil. This is the only reason I keep from fully endorsing this.

    So we'll either leave this ignorant of what it was or realize in the end that we can't really know this much ignorance. Why did he do it?

    I predict it won't fare particularly well, which is a shame. Here is some of the most striking cinematic craft right now for me. I mean, if someone asked me, what's a film that is at the forefront of cinematic advance on how we make sense, I would say right here. Know this, know the internal logic. Keep it in yourself in just that way until you decide to discard it.
    8Blue-Grotto

    trust and hope hang on a thread

    An alienated man returns to Paris in heavy rainfall in an attempt to mend family affairs in the wake of a suicide and substantial monetary damage. He discovers that human hearts, including his own, are not as repairable as he would prefer. Director Claire Denis displays a mastery of imagery, detail, tension and emotion in a dark story that goes back and forth in time and patiently reveals secrets. The introverted characters of her story attempt to react with confidence and courage to the bleak circumstances, malevolent figures, and fears that hem them in, yet their trust and hope hang on a thread. The film is enthralling, dark and brooding.
    6Hellmant

    I don't think making your film impossible to follow is a good way to make movies.

    'BASTARDS': Three Stars (Out of Five)

    Disturbing and confusing French crime drama film from director Claire Denis. It stars Vincent Lindon, Chiara Mastroianni, Julie Bataille, Lola Créton and Michel Subor. It was written by Denis and Jean-Pol Fargeau and tells the tale of a sea captain who goes AWOL to investigate his brother-in-law's suicide and protect his sister and niece from an evil businessman. I found the modern day film noir look and style of the movie to be interesting but didn't care at all for it's disjointed storytelling. I had no idea what was going on most of the time and still don't understand much of the film.

    Lindon stars as Marco, a sea captain who goes AWOL and returns home to Paris when he learns his brother-in-law committed suicide. His sister Sandra (Bataille) believes a wealthy businessman, named Edouard Laporte (Subor), was responsible for her husband's death. Marco moves into the building of Laporte's mistress, Raphaëlle (Chiara Mastroianni), in order to investigate Laporte and becomes involved with Raphaëlle, who wants to protect her son (from Laporte) at any cost. Marco desperately wants to protect his sister and her teenaged daughter, Justine (Créton), as well.

    The film was inspired by current sex ring scandals involving rich men and has received lots of rave reviews for it's director and criticism of capitalism. I like it's commentary on society but it's a tad too dark and disturbing for me to enjoy much. I can still respect movies like this but the way the story is told all out of order is far too confusing for the average viewer (and me). I don't think making your film impossible to follow is a good way to make movies but I did like the look and style of the film and think the director and actors show a lot of talent in it.

    Watch our movie review show 'MOVIE TALK' at: http://www.youtube.com/watch?v=TAydMPYt0Hs

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    Handlung

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    • Wissenswertes
      The title and film itself are inspired by Akira Kurosawa's movie Die Verworfenen schlafen gut (1960) which in French was translated to 'Les Salauds Dorment en Paix.'
    • Patzer
      The car being crashed/towed is not the same as previously driven, but an older Audi model.
    • Verbindungen
      Featured in Film '72: Folge vom 11. Februar 2014 (2014)
    • Soundtracks
      Put Your Love in Me (fade)
      Performed by Les Salauds

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    FAQ

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    Details

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    • Erscheinungsdatum
      • 26. Dezember 2013 (Deutschland)
    • Herkunftsländer
      • Frankreich
      • Deutschland
    • Offizieller Standort
      • Official site (France)
    • Sprachen
      • Französisch
      • Englisch
    • Auch bekannt als
      • Mistkerle
    • Drehorte
      • Paris, Frankreich
    • Produktionsfirmen
      • Alcatraz Films
      • Wild Bunch
      • Arte France Cinéma
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Bruttoertrag in den USA und Kanada
      • 24.525 $
    • Eröffnungswochenende in den USA und in Kanada
      • 4.432 $
      • 27. Okt. 2013
    • Weltweiter Bruttoertrag
      • 439.935 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      1 Stunde 40 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • Dolby Digital
    • Seitenverhältnis
      • 1.85 : 1

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