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The Man Who Killed Don Quixote (2018)

Not Rated | | Adventure, Comedy, Drama | 19 May 2018 (France)
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1:55 | Trailer
Toby, a disillusioned film director, becomes pulled into a world of time-jumping fantasy when a Spanish cobbler believes him to be Sancho Panza. He gradually becomes unable to tell dreams from reality.

Director:

Terry Gilliam
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420 ( 136)
3 wins & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
José Luis Ferrer José Luis Ferrer ... Don Quixote (commercial)
Ismael Fritschi Ismael Fritschi ... Sancho Panza (commercial) (as Ismael Fritzi)
Juan López-Tagle ... Spanish Propman (as Juan López Tagle)
Adam Driver ... Toby
William Miller ... 1st AD - Bill
Will Keen ... Producer
Jason Watkins ... Rupert
Paloma Bloyd ... Melissa
Óscar Jaenada ... Gypsy
Sonia Franco Sonia Franco ... Flamenco Dancer
José Aser Giménez José Aser Giménez ... Flamenco Guitarist
José Antonio Fernández José Antonio Fernández ... Flamenco Percussionist
Viveka Rytzner ... Junior Creative
Alberto Jo Lee ... Chinese Translator / Creative Creep
Bruno Sevilla ... Client Rep
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Storyline

Toby, a cynical but supposedly genius film director finds himself trapped in the outrageous delusions of an old Spanish shoe-maker who believes himself to be Don Quixote. In the course of their comic and increasingly surreal adventures, Toby is forced to confront the tragic repercussions of a film he made in his idealistic youth - a film that changed the hopes and dreams of a small Spanish village forever. Can Toby make amends and regain his humanity? Can Don Quixote survive his madness and imminent death? Or will love conquer all?

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Taglines:

Today's a marvelous day for adventures!


Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

Official Sites:

Official site | Official Twitter

Country:

Spain | Belgium | France | UK | Portugal

Language:

English | Spanish

Release Date:

19 May 2018 (France) See more »

Also Known As:

The Man Who Killed Don Quixote See more »

Filming Locations:

Canary Islands, Spain See more »

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Box Office

Budget:

€17,000,000 (estimated)
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Dolby Digital | SDDS

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The film premiered on 19 May 2018, simultaneously acting as the closing film at the 2018 Cannes Film Festival and being released in French theaters. See more »


Soundtracks

Tarde Azul de Abril
Written by Tessy Díez (as Tessy Díez Martín) and Roque Baños
Performed by Carmen Linares
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User Reviews

 
Labor of love
12 June 2018 | by baenadSee all my reviews

Why Don Quixote? Why today?

Gilliam answers brilliantly.

Because cheap factory-churned romance still exists, and it deserves equal parts love and parodic rebuke. Because the Inquisition still exists. It's called ICE in America, or the Spanish national police evicting undocumented migrants from their already precarious homes. Because the duke in his castle still exists. He is a Russian magnate that has bought up entire hamlets in southern Spain; he is Putin and Weinstein and Trump rolled into one. Because there are many young women in the "me too" world world for whom the justice these dukes have to offer means exactly nothing.

More than a personal obsession, beyond the self-deprecating and amusing meta-fiction and self-referentiality, this is a movie, much like the notoriously difficult to film source material, about the value of anachronism. About the value of allegedly bygone ideals and ethical principles in a world that too often seems to say to want to be 'over' them. A "post"-modern reflection on the contested value of prefixes. Is Don Quioxote really so old and out of place in our 21st century, as he already was for the 17th century, that we should want to throw him out like last year's iPhone?

The fact that there are still inquisitions and galley slavers alive and well today may make us think twice. That the very idea of "justice for the downtrodden" should be called anachronistic by so many may make us think twice.

The making of the film itself became something of a quixotic enterprise, and that itself seems poetic. In perfect resonance with the source material, which much like Gilliam's film, also happened to be made at a time of incredible violence and censorship toward the most vulnerable among us.

The film can seem opaque at times to those who have not followed Gilliam's exploits or read Cervantes' classic. But being an unapologetic fan of the second, I can confidently say this is an act of careful reading and imaginative reinterpretation for our precarious present: the only kind of reading that matters in the end.

Rest easy, Mr. Gilliam. You did good.


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