A delinquent Muslim man struggles to get by in prison until he is taken under the wing of a powerful mob boss. But his gradual rise through the mob's ranks brings him in conflict with his me... Read allA delinquent Muslim man struggles to get by in prison until he is taken under the wing of a powerful mob boss. But his gradual rise through the mob's ranks brings him in conflict with his mentor.A delinquent Muslim man struggles to get by in prison until he is taken under the wing of a powerful mob boss. But his gradual rise through the mob's ranks brings him in conflict with his mentor.
- Nominated for 1 Oscar
- 52 wins & 55 nominations total
Storyline
Did you know
- TriviaTo ensure the authenticity of the prison experience, Jacques Audiard hired former convicts as advisers and extras.
- GoofsWhen Cesar is discussing how to deal with the mole in his crew with his lawyer each time the shot changes the cigarettes he's smoking changes hands.
- ConnectionsFeatured in At the Movies: Cannes Film Festival 2009 (2009)
- SoundtracksMack the Knife
Music by Kurt Weill
Lyrics by Bertolt Brecht
Performed by Jimmie Dale Gilmore
Courtesy of MCA Records
Featured review
When I read that this movie has more nominations than any other film for the European Film Awards (even more than Slumdog Millionaire) I decided to go and see it. I don't regret this decision and I hope the movie wins all six awards it has been nominated for.
This movie, about a young hoodlum who in prison becomes a dangerous criminal, is in the same league as last years's Gomorra. It shows the life of criminals as it is: tough, merciless and unscrupulous. This film is miles away from the romantic image of maffia-style crime gangs we know from Hollywood. There is no honour here, no attachments, no loyalty. Only self-interest. The style of the film reflects the rawness of its subject. The photography is meant to show life in a prison, not to please our sense of aesthetics.
Why is this such a good film? Because of the radical approach to show us nothing but the raw underbelly of France, but also because of the story which has many aspects. Malik, the central character, has no true identity at all: he is not a religious Muslim (he eats pork), but he is neither French nor Corsican. The members of the Corsican clan to which he is being attached despise him because he is not one of them, and so do the religious Muslims ('les barbus'). Another interesting aspect is the development of the relationship between Malik en the Corsican capo Cesar, with a very powerful apotheosis. And there is the changing of Malik himself of course, who in the beginning of this film seems to be devoid of any emotion at all, but in the end is capable of warm feelings towards his godson and the wife of his terminally ill friend.
After having seen Un Prophète, I regret not having seen Jacques Audiards other films.
This movie, about a young hoodlum who in prison becomes a dangerous criminal, is in the same league as last years's Gomorra. It shows the life of criminals as it is: tough, merciless and unscrupulous. This film is miles away from the romantic image of maffia-style crime gangs we know from Hollywood. There is no honour here, no attachments, no loyalty. Only self-interest. The style of the film reflects the rawness of its subject. The photography is meant to show life in a prison, not to please our sense of aesthetics.
Why is this such a good film? Because of the radical approach to show us nothing but the raw underbelly of France, but also because of the story which has many aspects. Malik, the central character, has no true identity at all: he is not a religious Muslim (he eats pork), but he is neither French nor Corsican. The members of the Corsican clan to which he is being attached despise him because he is not one of them, and so do the religious Muslims ('les barbus'). Another interesting aspect is the development of the relationship between Malik en the Corsican capo Cesar, with a very powerful apotheosis. And there is the changing of Malik himself of course, who in the beginning of this film seems to be devoid of any emotion at all, but in the end is capable of warm feelings towards his godson and the wife of his terminally ill friend.
After having seen Un Prophète, I regret not having seen Jacques Audiards other films.
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Details
- Release date
- Countries of origin
- Official sites
- Languages
- Also known as
- Nhà Tiên Tri
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $13,000,000 (estimated)
- Gross US & Canada
- $2,087,720
- Opening weekend US & Canada
- $163,773
- Feb 28, 2010
- Gross worldwide
- $17,874,044
- Runtime2 hours 35 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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