La galleta de la fortuna de un hombre rico: "Hoy conocerás a alguien especial". Conoce a una criada, convertida en aristócrata por una noche, para evitar a 13 en la cena de París. Pasan la n... Leer todoLa galleta de la fortuna de un hombre rico: "Hoy conocerás a alguien especial". Conoce a una criada, convertida en aristócrata por una noche, para evitar a 13 en la cena de París. Pasan la noche juntos, mientras la anfitriona los acecha.La galleta de la fortuna de un hombre rico: "Hoy conocerás a alguien especial". Conoce a una criada, convertida en aristócrata por una noche, para evitar a 13 en la cena de París. Pasan la noche juntos, mientras la anfitriona los acecha.
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Opiniones destacadas
A film that looks at the relationship between employer and employee. It has several funny scenes but it's easy to choke on the laughter since the story feels a bit too real at times. I enjoyed it and even if there's some nasty bits I think the film has a positive vibe
This is totally a Rossy de palma's Movie. She takes the cake with her awesome performance be it the comic timing or the seriousness of her character. Toni and Harvey fo good jobs in their roles. But sadly the ending was too disappointing. I mean it could have been better. Overall worth a watch though.
The comedy of manners genre uses satire to expose the rituals and affectations that pass for social politeness. Driven by witty dialogue and characterisation, it laughs at the best and worst in human behaviour. A good example is the comedy drama Madame (2017) that blends themes of race and class in a charming Cinderella tale of self-discovery.
The plot line is deceptively straightforward. Pretentious American couple Anne (Toni Collette) and Bob (Harvey Keitel) have rented an elegant manor in trendy Paris to impress their friends and clients. On the eve of a 'spare-no-expense' formal dinner a guest cancels, leaving the dinner table with an odd number of guests. Anne instructs her shy servant Maria (Rossy de Palma) to make up the number, pretend to be a Spanish lady friend, and say very little. After a few drinks, Maria becomes outgoing and is noticed by British art broker David (Michael Smiley) who is convinced she is a mysterious aristocrat. To Anne's horror they begin seeing each other despite desperate attempts to stop them.
Woven into this simple plot is a portrait of a lowly maid hoping to be loved for who she is, not what she does. Her nemesis is Anne, the wicked witch who wants to keep her in place. While Keitel and Smiley competently fill their supporting roles, the emotional energy comes entirely from the two female stars. Collette portrays scandalised with consummate bitchery as she engineers what she calls a 'slow-motion car crash' and de Palma does a heart-warming rendition of the maid who dares to hope. Brilliantly filmed in Parisian locations, its narrative twists and turns play on themes of class ritual and racial stereotype. The script is at times laboured with trite references to knowing one's place, but it is de Palma who keeps the story alive. She uses those big innocent eyes to convey how it feels to suddenly believe that someone really loves you, all while being oblivious to the masquerade into which she has been thrust. De Palma's unconventional aesthetics become a device to highlight the deeper values of kind-hearted character and the superficiality of skin-deep beauty.
This slow-burning comedy is a study of inflated egos and natural humility. Its minimal plot allows the focus to stay on the battle between primal feminine drives, one stopping at nothing to preserve the social order, the other swept up in a Cinderella dream. Not all fairy tales have conclusive endings and nor does this one. But it has enough laughter and warm-hearted moments to be worth watching despite its BYO ending.
The plot line is deceptively straightforward. Pretentious American couple Anne (Toni Collette) and Bob (Harvey Keitel) have rented an elegant manor in trendy Paris to impress their friends and clients. On the eve of a 'spare-no-expense' formal dinner a guest cancels, leaving the dinner table with an odd number of guests. Anne instructs her shy servant Maria (Rossy de Palma) to make up the number, pretend to be a Spanish lady friend, and say very little. After a few drinks, Maria becomes outgoing and is noticed by British art broker David (Michael Smiley) who is convinced she is a mysterious aristocrat. To Anne's horror they begin seeing each other despite desperate attempts to stop them.
Woven into this simple plot is a portrait of a lowly maid hoping to be loved for who she is, not what she does. Her nemesis is Anne, the wicked witch who wants to keep her in place. While Keitel and Smiley competently fill their supporting roles, the emotional energy comes entirely from the two female stars. Collette portrays scandalised with consummate bitchery as she engineers what she calls a 'slow-motion car crash' and de Palma does a heart-warming rendition of the maid who dares to hope. Brilliantly filmed in Parisian locations, its narrative twists and turns play on themes of class ritual and racial stereotype. The script is at times laboured with trite references to knowing one's place, but it is de Palma who keeps the story alive. She uses those big innocent eyes to convey how it feels to suddenly believe that someone really loves you, all while being oblivious to the masquerade into which she has been thrust. De Palma's unconventional aesthetics become a device to highlight the deeper values of kind-hearted character and the superficiality of skin-deep beauty.
This slow-burning comedy is a study of inflated egos and natural humility. Its minimal plot allows the focus to stay on the battle between primal feminine drives, one stopping at nothing to preserve the social order, the other swept up in a Cinderella dream. Not all fairy tales have conclusive endings and nor does this one. But it has enough laughter and warm-hearted moments to be worth watching despite its BYO ending.
This film tells the story of a maid who fills in as a guest in her employer's dinner party. A wealthy art dealer falls for her, and a tricky situation ensues.
Even though it is a comedy, I actually feel bittersweet. It is great that the maid has her moments to shine, but I really hoped for that particular ending. After all, as a character in the film says, everyone hopes for it, so I certainly hope for it too. It is funny in the beginning but changes drastically in the end.
Even though it is a comedy, I actually feel bittersweet. It is great that the maid has her moments to shine, but I really hoped for that particular ending. After all, as a character in the film says, everyone hopes for it, so I certainly hope for it too. It is funny in the beginning but changes drastically in the end.
This movie could have been something truly amazing but it just seems to limp along without much focus at any of the main plot points. The only saving grace was the dead pan wit and charm of Rossy de Palma.
¿Sabías que…?
- TriviaAnne (Toni Collette) argues with Maria (Rossy de Palma) that many Spanish people became succcesful and mentions, among others, Pedro Almodóvar and Antonio Banderas. Rossy de Palma worked with Almodovar in at least 6 movies, including "Mujeres al borde de un ataque de Nervios" and "Ata-me" (in which Banderas is in too).
- ConexionesReferences Realmente amor (2003)
- Bandas sonorasRock 'n' Dollars
Written & performed by William Sheller
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- How long is Madame?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Sitios oficiales
- Idiomas
- También se conoce como
- Madame
- Locaciones de filmación
- París, Francia(location)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- EUR 4,000,000 (estimado)
- Total en EE. UU. y Canadá
- USD 90,979
- Total a nivel mundial
- USD 5,381,950
- Tiempo de ejecución1 hora 31 minutos
- Color
- Relación de aspecto
- 2.35 : 1
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What is the Canadian French language plot outline for La Madame (2017)?
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