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IMDbPro

Francofonia: Louvre Sob Ocupação

Título original: Francofonia
  • 2015
  • Not Rated
  • 1 h 28 min
AVALIAÇÃO DA IMDb
6,6/10
3,1 mil
SUA AVALIAÇÃO
Francofonia: Louvre Sob Ocupação (2015)
Trailer for Francofonia
Reproduzir trailer1:53
2 vídeos
13 fotos
DramaHistória

Adicionar um enredo no seu idiomaA history of the Louvre during the Nazi occupation and a meditation on the meaning and timelessness of art.A history of the Louvre during the Nazi occupation and a meditation on the meaning and timelessness of art.A history of the Louvre during the Nazi occupation and a meditation on the meaning and timelessness of art.

  • Direção
    • Aleksandr Sokurov
  • Roteirista
    • Aleksandr Sokurov
  • Artistas
    • Louis-Do de Lencquesaing
    • Benjamin Utzerath
    • Vincent Nemeth
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,6/10
    3,1 mil
    SUA AVALIAÇÃO
    • Direção
      • Aleksandr Sokurov
    • Roteirista
      • Aleksandr Sokurov
    • Artistas
      • Louis-Do de Lencquesaing
      • Benjamin Utzerath
      • Vincent Nemeth
    • 15Avaliações de usuários
    • 118Avaliações da crítica
    • 71Metascore
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 2 vitórias e 7 indicações no total

    Vídeos2

    Francofonia
    Trailer 1:53
    Francofonia
    Francofonia - Official Trailer
    Trailer 1:52
    Francofonia - Official Trailer
    Francofonia - Official Trailer
    Trailer 1:52
    Francofonia - Official Trailer

    Fotos12

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    + 7
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    Elenco principal17

    Editar
    Louis-Do de Lencquesaing
    Louis-Do de Lencquesaing
    • Jacques Jaujard
    Benjamin Utzerath
    • Franz Wolff-Metternich
    Vincent Nemeth
    Vincent Nemeth
    • Napoléon Bonaparte
    Johanna Korthals Altes
    • Marianne
    Andrey Chelpanov
    Jean-Claude Caër
    Aleksandr Sokurov
    Aleksandr Sokurov
      Francois Smesny
        Peter Lontzek
          Catherine Limbert
          • La secrétaire de Jacques Jaujard
          Léolo
          • Groom service
          Stephanie Slama
          Stephanie Slama
          Charles de Gaulle
          Charles de Gaulle
          • Self
          • (cenas de arquivo)
          • (não creditado)
          Dwight D. Eisenhower
          Dwight D. Eisenhower
          • Self
          • (cenas de arquivo)
          • (não creditado)
          Adolf Hitler
          Adolf Hitler
          • Self
          • (cenas de arquivo)
          • (não creditado)
          Eric Moreau
          • Un capitaine allemand
          • (não creditado)
          Marika Rökk
          Marika Rökk
          • Self
          • (cenas de arquivo)
          • (não creditado)
          • Direção
            • Aleksandr Sokurov
          • Roteirista
            • Aleksandr Sokurov
          • Elenco e equipe completos
          • Produção, bilheteria e muito mais no IMDbPro

          Avaliações de usuários15

          6,63K
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          Avaliações em destaque

          10treywillwest

          nope

          A spectacular and unique essay film. At once a philosophical rumination on the connection between art and power, a history of the Louvre- particularly during the Vichy regime, and a surprisingly powerful and human narrative of the French civil servant and German aristocrat and Nazi officer who collaborated to save the collection from plunder.

          Unflinchingly, the film equates art with plunder. As any serious study of the Louvre must, by definition, be this is a tale of Napoleon, invasion and imperialism. The Emperor is himself a character in the film, haunting the halls of his museum and reminding the director/narrator that all of the paintings are of him, for none of it would be there without his power.

          The point is also made that Paris was sparred the devastation of the war in no small part because the leading Nazis loved classical art and wanted the Louvre's collections for Germany and themselves. In a real sense, then, the film must uneasily acknowledge, the German regime was responsible for the preservation of much European cultural treasure. The Louvre, though to a degree the very phenomenon of the art museum, is made to seem like a place where humanism, the preservation of the human image, and sheer political force, come together.

          Sukarov's imagery is characteristically spectacular. The amazing, painterly light that he most often brings to the human face he here brings to the urban face of Paris. This film includes some of the best uses of crane shots that I think I've ever seen.
          6frankde-jong

          Almost succumbing to its own ambition

          After "Russian Ark" (2002) this is Sokoroev's second film about a museum. After the Hermitage in "Russian Ark", this time he meditates about the Louvre.

          The film has not a real plot but is build around various contrasts, none of which was very convincing to me.

          In the first place the film seems to suggest that while the Hermitage is real Russian (in "Russian ark" Sokoerov used the Hermitage to explain Russian history) the Louvre is not real French, containing too much art from abroad. To accentuate this point there are scenes in which Sokoerov himself has contact with the captain of a ship transporting art. I don't think Sokoerov's point is very convincing. I don't know how much of the collection of the Louvre is foreign in origin but I do know that the Hermitage is very proud to have more Rembrands than the National Museum in Amsterdam.

          The second (and in my opinion best) contrast the film makes is the relation between the German Metternich and the Frenchman Jaujard. The order of Metternich is to rob as much art for the Third Reich as possible. The job of Jaujard is to protect the collection of the Louvre. Both men are civil servants in the depths of their soul, so Metternich goes at great length to obey the orders of his (culturally barbarian) superiors as minimalist as possible. In this regard the job of Jaujard is more easy than that of Mademoiselle Villard in "The train" (1964, John Frankenheimer). Mademoiselle Villard also has to protect the collection of a French museum but has in Franz von Waldheim an opponent that was far less understanding. As a result "The train" has far more action than "Francofonia".

          The last (and in my opinion most puzzling) contrast is that between Marianne and Napoleon. Both of these prominent figures of Fench history are wandering through the Louvre, but what do they symbolize? It becomes clear that Marianne symbolizes the values of the French revolution. Values that have become worn out over time. Where Napoleon stands for remains a mystery (to me).
          6lasttimeisaw

          an inventive genre-buster but also a bemusing underachiever

          Revered Russian director Aleksandr Sokurov's paean to the Louvre Museum and mankind's art treasure is an inventive genre-buster but also a bemusing underachiever. Reconstructing the scenarios of Louvre under Nazi occupation during WWII, Sokurov blots out the distinctions between documentary and fiction filmmaking: archival documents and vintage photos, recurring shots of an anonymous apartment at present where video footage of a struggling cargo ship amid the choppy ocean is playing on the computer, interlaced into a lax narrative re-enacting the story between Jacques Jaujard (de Lencquesaing), the director of the French National Museums and a Nazi officer, Count Franz Wolff-Metternich (Utzerath), predominantly, their so-called Kunstschutz (art protection) movement during WWII, which has spawned a feeble Hollywood dramatization, George Clooney's star-studded THE MONUMENTS MEN (2014).

          Yet, the film's overall effort fails to pass muster as a competent infotainment which dissects the cardinal situation where arts and warfare corralled together, Sokurov's platitudinous commentaries breathe with a wisp of solipsistic sentiment, although perambulating inside the Louvre is inherently enchanting, and Sokurov's slick camera-work guides viewer to the ensconced masterpieces with his trademark aplomb and dexterity, not to mention the awesome temporal morphing panorama feat. Personally, the segment where the camera slithers around a mummy exhibit is quaintly numinous. But our tour is often interrupted by a resurrected Napoléon Bonaparte (Nemeth), repugnant and irksome in his boosted egoism, and Marianne (Korthals Altes) repetitively uttering the incantation of "liberty, equality and fraternity", when you have the entire Louvre at your feet, but we are only allowed to glance at such a limited purview, rank dissatisfaction inevitably materializes. Stripped off the "single take" stunt with which he has stunned the world in Russian ARK (2002), this belated pendant work haplessly betrays that Sokurov's ambition and talent has ebbed away significantly, especially when his disaffected grouse can be overtly detected through counterpointing the disparate circumstances between France and his fatherland, a close-minded overtone of editorializing writ large woefully.
          5socrates99

          From the director of Russian Ark, another dud

          This is the last Aleksandr Sokurov movie I'll ever see. I'm sure this guy means well, but his cinematic instinct isn't very entertaining, even though someone with money clearly thinks otherwise.

          I recently visited the Louvre. It is far more impressive than you would think seeing this movie which attempts to avoid responsibility for showing it to you by purporting to be an brief account of it during the German occupation. It fails even at that rather small ambition.

          There are a few flashes of adequacy but they're so few and far between that it's not worth sitting through it all. Watching this was a big waste of time.
          6GianfrancoSpada

          Francoboria

          Aleksandr Sokurov's Francofonia is an audacious exploration of art, power, and historical memory, defying traditional cinematic categorizations. It hovers somewhere between experimental non-fiction and a dreamlike essay film, offering a fragmented, yet visually poetic reflection on the Louvre Museum and its entwinement with French and European identity. While the film's conceptual ambition is undeniable, its execution oscillates between enthralling and disorienting, leaving the viewer in a state of contemplation-though not without moments of frustration.

          From a technical standpoint, Francofonia is a masterclass in Sokurov's signature visual style. The cinematography evokes the textures of classical paintings, with muted tones and painterly compositions that envelop the viewer in a tangible sense of history. Sokurov's camera glides through the Louvre's corridors, transforming the museum into a living entity. His use of archival footage interwoven with contemporary sequences and re-enactments creates a layered narrative tapestry, though one that occasionally feels too fragmented to fully resonate.

          The film's sound design and musical choices add another layer of complexity. Sokurov's narration-delivered in a contemplative, almost melancholic tone-acts as a philosophical guide, though it can veer into opaque soliloquies that risk alienating the audience. The integration of historical soundscapes with modern audio elements underscores the timelessness of art while subtly reminding us of its fragility.

          Performances by the actors portraying historical figures, such as Jacques Jaujard and Count Metternich, are understated yet effective, capturing the quiet tension and mutual respect between these two unlikely collaborators. However, the symbolic appearances of Napoleon and Marianne, while visually striking, feel overwrought and detract from the film's thematic coherence. These moments attempt to inject a mythic quality into the narrative but come across as heavy-handed and repetitive.

          One of the film's most compelling elements is its philosophical inquiry into the relationship between art and imperialism. Sokurov doesn't shy away from pointing out the Louvre's history as a repository of plundered treasures, raising provocative questions about cultural ownership and the ethics of preservation. Yet, his meditations often lack clarity, leaving viewers to wade through abstract musings that don't always coalesce into a clear argument.

          As a companion piece to Sokurov's earlier Russian Ark, Francofonia is both a continuation and a departure. While Russian Ark dazzled with its audacious single-take structure and cohesive narrative flow, Francofonia opts for a more fragmented and introspective approach. This shift in style is both its strength and its weakness: it offers moments of profound beauty and insight but also tests the viewer's patience with its meandering structure.

          In the end, Francofonia is less a film about the Louvre than a meditation on the intersections of art, war, and human ambition. It demands a viewer willing to engage with its complexities and forgive its indulgences. For those seeking a traditional documentary or a straightforward narrative, this may feel like an exercise in pretension. But for those open to Sokurov's idiosyncratic vision, Francofonia offers a singular-if uneven-cinematic experience.

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          Enredo

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          Você sabia?

          Editar
          • Curiosidades
            During production, this film was often rumored to be shot in a single take, making it an ideal sequel to Aleksandr Sokurov's previous 'museum film', Arca Russa (2002). Eventually, a more traditional editing technique was chosen by Sokurov to tell the story.
          • Erros de gravação
            Since the narration is in Russian, it seems as though every time Paris is referred to as the seat of government of France, it's translated in English subtitles as "capital," rather than "Capitol."
          • Conexões
            Referenced in Vecherniy Urgant: Maxim Trankov/Tatiana Volosozhar (2015)
          • Trilhas sonoras
            Kindertotenlieder
            Written by Gustav Mahler

          Principais escolhas

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          Perguntas frequentes18

          • How long is Francofonia?Fornecido pela Alexa

          Detalhes

          Editar
          • Data de lançamento
            • 18 de agosto de 2016 (Brasil)
          • Países de origem
            • França
            • Alemanha
            • Países Baixos
          • Centrais de atendimento oficiais
            • Official site (Japan)
            • Official site (United Kingdom)
          • Idiomas
            • Russo
            • Francês
            • Alemão
            • Inglês
          • Também conhecido como
            • Francofonia
          • Locações de filme
            • Rue de l'Echaudé, Paris 6, Paris, França(drone shot of narrow street)
          • Empresas de produção
            • Idéale Audience
            • Zero One Film
            • N279 Entertainment
          • Consulte mais créditos da empresa na IMDbPro

          Bilheteria

          Editar
          • Faturamento bruto nos EUA e Canadá
            • US$ 307.040
          • Fim de semana de estreia nos EUA e Canadá
            • US$ 22.083
            • 3 de abr. de 2016
          • Faturamento bruto mundial
            • US$ 1.008.154
          Veja informações detalhadas da bilheteria no IMDbPro

          Especificações técnicas

          Editar
          • Tempo de duração
            • 1 h 28 min(88 min)
          • Cor
            • Color
            • Black and White
          • Proporção
            • 1.66 : 1

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