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Le capital

  • 2012
  • R
  • 1h 54min
VALUTAZIONE IMDb
6,5/10
5753
LA TUA VALUTAZIONE
Le capital (2012)
The head of a giant European investment bank desperately clings to power when an American hedge fund company tries to buy them out.
Riproduci trailer1: 55
5 video
15 foto
DrammaDramma finanziario

Aggiungi una trama nella tua linguaThe newly appointed CEO of a giant European investment bank works to hold on to his power when an American hedge fund company tries to buy out his company.The newly appointed CEO of a giant European investment bank works to hold on to his power when an American hedge fund company tries to buy out his company.The newly appointed CEO of a giant European investment bank works to hold on to his power when an American hedge fund company tries to buy out his company.

  • Regia
    • Costa-Gavras
  • Sceneggiatura
    • Karim Boukercha
    • Costa-Gavras
    • Jean-Claude Grumberg
  • Star
    • Gad Elmaleh
    • Gabriel Byrne
    • Liya Kebede
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,5/10
    5753
    LA TUA VALUTAZIONE
    • Regia
      • Costa-Gavras
    • Sceneggiatura
      • Karim Boukercha
      • Costa-Gavras
      • Jean-Claude Grumberg
    • Star
      • Gad Elmaleh
      • Gabriel Byrne
      • Liya Kebede
    • 25Recensioni degli utenti
    • 62Recensioni della critica
    • 56Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 vittoria e 2 candidature totali

    Video5

    Capital
    Trailer 1:55
    Capital
    Capital
    Trailer 2:00
    Capital
    Capital
    Trailer 2:00
    Capital
    Capital
    Trailer 1:02
    Capital
    Capital
    Trailer 1:55
    Capital
    Capital: They Made Me King (Exclusive)
    Clip 2:06
    Capital: They Made Me King (Exclusive)

    Foto15

    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
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    Visualizza poster
    + 9
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    Interpreti principali88

    Modifica
    Gad Elmaleh
    Gad Elmaleh
    • Marc Tourneuil
    Gabriel Byrne
    Gabriel Byrne
    • Dittmar Rigule
    Liya Kebede
    Liya Kebede
    • Nassim
    Natacha Régnier
    Natacha Régnier
    • Diane Tourneuil
    Céline Sallette
    Céline Sallette
    • Maud Baron
    Hippolyte Girardot
    Hippolyte Girardot
    • Raphaël Sieg
    Daniel Mesguich
    Daniel Mesguich
    • Jack Marmande
    Olga Grumberg
    • Claude Marmande
    Bernard Le Coq
    • Antoine de Suze
    Philippe Duclos
    Philippe Duclos
    • Jean Rameur
    Yann Sundberg
    • Boris Breton
    Éric Naggar
    • Théo Craillon
    John Warnaby
    • Stanley Greenball
    Jean-Marie Frin
    Jean-Marie Frin
    • L'oncle Bruno
    Bonnafet Tarbouriech
    Bonnafet Tarbouriech
    • Maître Tombière
    Daniel Martin
    Daniel Martin
    • Le père de Marc
    Claire Nadeau
    • Déjeuner famille mère Marc
    Marie-Christine Adam
    • La mère de Diane
    • Regia
      • Costa-Gavras
    • Sceneggiatura
      • Karim Boukercha
      • Costa-Gavras
      • Jean-Claude Grumberg
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti25

    6,55.7K
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    Recensioni in evidenza

    7l_rawjalaurence

    Familiar Subject Crisply Handled

    LE CAPITAL is an interesting film to compare with Martin Scorsese's WOLF OF WALL STREET, released a year later. Both contain similar subject-matter (the rapacity of the modern-day banking world) inspired by recent events in major financial centers such as London, Paris and New York. Nonetheless Costa-Gavras' film works much better as an indictment of contemporary greed as compared to Scorsese's. There are several reasons for this: unlike Leonardo DiCaprio in the Scorsese work, Marc Tourneuil (Gad Elmaleh) is a genuinely unsympathetic central character. His expression (in public, at least) seldom changes as he ruthlessly consolidates his position as CEO of Phenix Bank, a Paris-based institution with aspirations to participate on the world stage. Anyone getting in his way is ruthlessly brushed aside; even those who support him in his quest for power are not exempt. His personal life is treated equally ruthlessly - although married to Diane (Natacha Régnier), he shows no scruples in his relentless pursuit of supermodel Nassim (Liya Kebede), even though she strings him along with equal ruthlessness. At the same time Marc is well aware that he is putting on an act; there are several moments where he uses voice-over to communicate his true feelings to the audience, and he sometimes addresses them direct to camera. He is nothing more than a prisoner of ambition; in the dog-eat-dog world of high finance, he has to play the game, however much he dislikes it. Sometimes LE CAPITAL does seem a little over-moralistic in tone - the sequences involving tyro banker Maud Baron (Céline Sallette)(who sacrifices a promising career in Phenix Bank's London office in order to expose the corruption lurking beneath a proposed business deal) tend to be rather static, especially the one taking place next to the Seine, where Maud invites Marc to give up his money-dominated existence and pursue the path of righteousness. On the other hand Costa-Gavras' film makes intelligent use of modern technology: much of the communication, especially between Marc and his US-based patron Dittmar Rigule (Gabriel Byrne) is done via videophone. This strategy indicates how debased the financial world has become; no one favors face-to-face talk anymore, but would rather put a screen in front of them, that can be switched off at will. The narrative of LE CAPITAL unfolds swiftly, making intelligent use of high-tech locations in London, Paris and New York. Its subject might be familiar, but its impact remains powerful.
    vonWeisstadt

    Insightful, if not too original, commentary on today's state of affairs.

    Basically good, sympathetic, or at least, interesting characters, you can relate to and care for, encounter obstacles, have to struggle for a while, but ultimately find their way through an unfriendly or simply indifferent world. We all love this type of films. "Capital" is emphatically not one of those, but is nevertheless worthy of attention.

    There is at least one character, however, who has not lost her moral compass, and still has some, albeit minuscule weight in the film: the wife of the main protagonist, a former economics professor, and now an ambitious CEO of a leading French bank. Her pull on her husband, however, is only marginally stronger than the one that his extended family, of apparently modest means, has on him. He has feelings for her, as well as for his parents, but those simply cannot compare in intensity to the thrill of money. He is a man who understands "the way the world functions", as he is not shy to explain when questioned. It is a game, in which, typically, rich get richer and poor get poorer, but the reverse is not impossible, as we are told, only improbable. He is cool, calculated, unemotional player, consciously going for high stakes. Just like the others, towards him often inimical characters, who he does not blame for their repugnant behaviour, although certainly would not mind occasionally smashing their heads onto hard surfaces nearby. Of course, we understand that he could not have possible been any different and still belong to the top executive branches of the financial world.

    Costa Gavras made his name in the genre of international political thriller, picking his subjects to be the most promising themes for such a film at a given time. It is already telling that he chose the world of high finance, and not of politics, as the most relevant field today. Indeed, the main character is addressed always as "the president", and he is treated as such by everybody he meets. He clearly lives in an entirely different world from the majority of even western, relatively well-off humanity, and his decisions, although made explicitly and exclusively for the benefit of the few, indeed affect, thousands of ordinary mortals. The bank that he directs, and pretty much all the interiors he ever dwells in do not fall far behind many European royal palaces. His world is the world of excess, but in his book it should be unapologetically so.

    There is a hint in the film of a possible difference between the old European, and the new aggressive, American business attitudes, that may exist only on the surface. American bankers that we meet maybe cannot pronounce Modigliani's name correctly, but they understand perfectly that their French counterparts are just as greedy, and motivated by the same basic predatory impulses, as they are. As the main character says on one occasion, almost defending his adversaries across the Atlantic: "They are just businessman, like us". The difference seems to be only that the French operate from the high-ceiling, well decorated, old world Parisian buildings, whereas their American partners for their machinations prefer flashy yachts and skyscrapers.

    The film certainly lacks the depth and the emotion of the very best Gavras' works, such as "Z" or the "Missing", but it functions well at the level of well written, competently shot, and expertly directed financial drama. It is an insightful, if not too original, commentary on today's state of affairs which to many will ring painfully true. There are also some fairly obvious flaws: the parallel thread with the "super model" that the main hero relentlessly pursues is rather stereotypical, and her attitude towards him appears far-fetched. It would have served the story's development better if the relationship with the multi-dimensional French female employee from London's office was introduced earlier and then further developed. This could have added some intellectual and emotional depth to the main character, beyond what was this way left only sketched. These comments notwithstanding, the film presents an entertaining and informative look at the dynamics of the modern world's new nobility.
    rightwingisevil

    "My friends, I'm the modern Robin Hood

    Let's continue to rob the poor and make the rich richer!" this is what about the modern day banking and financing (undre)world, banks are just like Mafia, bankers Mafiosos, banks' CEO in private jet doing country hopping, hiring retired cop to do the dirt-digging and trashcan/dumpster diving jobs, committing some adultery flirting with high priced model- hooker, back-stabbing while self defense, behind the door deals, estranged to parents, wives, kids, fence off hostile takeover, firing the employees as many as possible, no gender and age are safe, laying off more, the stockholders will be happier and the stock will be rocketing. so, indeed "money is not a tool but a master, serving him well and he'll reward you generously". so let's continue to rob the poor blind and serve the rich loyally. what a great movie, very tense and thrilling, great montage, lot of exotic locations in different countries. this is a very nicely done movie, quite worth watching.
    9xdisruptor

    "It's not a measure of health to be well adjusted in a profoundly sick society."

    If there is one message that the movie is trying to communicate to its audience it's the above title.

    There are of course reviews that point out the alleged likeliness of this film with movies like "Wall Street" usually concluding "that there is nothing new to see". Under closer examination however, any similarities between the two films go only skin-deep and can only be considered superficial. There are fundamental differences between these two movies because they represent two different approaches and evaluations of the same issue and which one hits home is up for you to decide. And thats because "Wall Street" focuses on the seducing power and aloofness of a loan shark that acts as a money fueled lone wolf, as opposed to the naiveness of a young rookie which is slow to disillusion himself about his own actions while he's getting carried away (but eventually comes out on top etc). The caveat of such scenarios is in that they constantly, silently and almost purposefully marginalize the inherent, all consuming, self-perpetuating environment and ill-conceived culture that money in and all by itself creates, even for "the winners of the game".

    La Capital on the other hand has none of the above shortcomings when it comes to describing the black hole lurking deep into the very foundations of our culture: Money. It's a film about attitudes and value systems across the board, with a scenario that's free of cliché good-guy-vs-bad-guy dualities and with the courageous nerve to "pull no punches" sparing its viewer from having to suffer another stereotypical "happy ending" made-in-Hollywood (has elements of it but still its not "right into your face").

    Finally, I would just like to add that, all in all, Mr Gavras is right in that there will come a time in the not so distant future ... A time in which, among other things, our western culture will look back to the contemporary intellectuals and artists to examine which ones did of their duty in terms of articulating the public opinion, bringing the spotlight on the machinations of the financial system and the corrosive effects that money in and all by itself has both on our societies as a whole, in our own micro-worlds and those of our acquaintances as well as our own fragile, individual psyches. And when this time comes I think that the memory of both Mr Gavras and those that stood by him in this and similar projects will be, if not exalted, then at the very least spared from the outrage of the dystopian poverty-striken masses.
    ersbel

    I was expecting a bad movie

    I have seen the posters. Gad Elmaleh and Costa Gavras? Well, Costa Gavras directed nobodies like Ion Caramitru, so why not a stand up comedy man? Than I have read the reviews. The world is not like that, they say.

    I have watched the movie. Maybe there are a bit too many characters on screen. I can say that of all of Costa Gavras' movies I have seen so far. But the story is good. And it's the best business-themed movie I have seen.

    So what I can tell you is go see the movie and find for yourself if you like it. Just keep in mind this is not a reality TV show about white collar crime. Maybe it's true that the television has a strong impact on the way audiences perceive the big screen stories.

    Contact me with Questions, Comments or Suggestions ryitfork @ bitmail.ch

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Costa-Gavras and Gabriel Byrne previously collaborated in Hanna K. (1983).
    • Blooper
      In a dinner scene towards 67 minutes into the film, the liquid level in a bottle in front of Marc Tourneuil keep on changing between shots.
    • Citazioni

      L'oncle Bruno: Your bank makes money and you lay people off. How do you cope?

    • Colonne sonore
      Dangerous Game
      Written by Alban Sautour

      Editions musicales KG Productions

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    Dettagli

    Modifica
    • Data di uscita
      • 14 novembre 2012 (Francia)
    • Paese di origine
      • Francia
    • Lingue
      • Francese
      • Inglese
    • Celebre anche come
      • Capital
    • Luoghi delle riprese
      • Miami, Florida, Stati Uniti
    • Aziende produttrici
      • K.G. Productions
      • France 2 Cinéma
      • Cofinova 8
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo Stati Uniti e Canada
      • 101.700 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 22.400 USD
      • 27 ott 2013
    • Lordo in tutto il mondo
      • 4.822.849 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 54 minuti
    • Colore
      • Color
    • Mix di suoni
      • Dolby Digital
    • Proporzioni
      • 2.35 : 1

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