| Catherine Deneuve | ... | Hélène | |
| Patrick Dewaere | ... | Gilles Tisserand | |
| Etienne Chicot | ... | Bernard | |
| Sabine Haudepin | ... | Elise Tisserand | |
| Dominique Lavanant | ... | Jacqueline | |
| Josiane Balasko | ... | Colette | |
| François Perrot | ... | Rudel | |
| Jean-Louis Vitrac | ... | Luc | |
| Frédérique Ruchaud | ... | La mère | |
| Michèle Ban de Loménie | ... | La mère de colette | |
| Pascal Bernuchon | |||
| Catherine Carrée | |||
| Gérard Deleris | |||
| Jacques Dichamp | ... | Le client de l'hôtel | |
| Rosemary Linousy | ... | La clientèle inconnue | |
| Jacques Nolot | |||
| Francine Rabas | ... | La caissière | |
| Catherine Rethi | |||
| Claude Saubot | |||
| Michel Sauvage | ... | L'employé SNCF |
Directed by | |||
| André Téchiné | |||
Writing credits(in alphabetical order) | ||
| Gilles Taurand | ||
| André Téchiné | ||
Produced by | |||
| Alain Sarde | .... | producer | |
Original Music by | |||
| Philippe Sarde | |||
Cinematography by | |||
| Bruno Nuytten | |||
Film Editing by | |||
| Claudine Merlin | |||
Production Design by | |||
| Jean-Pierre Kohut-Svelko | |||
Costume Design by | |||
| Christian Gasc | |||
Makeup Department | |||
| Jean-Pierre Berroyer | .... | hair stylist | |
| Jacky Reynal | .... | key makeup artist | |
Production Management | |||
| Christine Gozlan | .... | production manager | |
| François Menny | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Martine Alleton | .... | trainee assistant director | |
| Alain Centonze | .... | assistant director | |
| Michel d'Arcangues | .... | trainee assistant director | |
| Bernard Debargue | .... | trainee assistant director | |
| Bruno François-Boucher | .... | assistant director (as Bruno Boucher) | |
| Maryse Morel | .... | trainee assistant director | |
| Charlotte Trench | .... | assistant director | |
Art Department | |||
| Pierre Gompertz | .... | assistant set designer | |
| Geoffroy Larcher | .... | set dresser | |
| Jean-Marie Selle | .... | set design trainee | |
Sound Department | |||
| Jean Duguet | .... | foley artist | |
| Paul Lainé | .... | sound | |
| Jean-Pierre Lelong | .... | foley artist | |
| Jacques Lévy | .... | post-synchronisation | |
| Jacques Maumont | .... | sound mixer | |
| Mario Melchiorri | .... | foley artist | |
Camera and Electrical Department | |||
| Jean-Luc Bezeau | .... | grip | |
| Bernard Brégier | .... | key grip | |
| Gerard Buffard | .... | grip | |
| Franck Coquet | .... | chief electrician | |
| Gilbert Duhalde | .... | assistant camera | |
| Eugène Fabcic | .... | best boy | |
| Alain Fillon | .... | gaffer | |
| Idislawe Kielar | .... | camera operator | |
| Pascal Marti | .... | camera operator | |
| Christian Thurot | .... | best boy | |
| Serge Valézy | .... | gaffer | |
| Christian Weyers | .... | gaffer | |
Costume and Wardrobe Department | |||
| Christiane Fageol | .... | wardrober | |
| Claire Fraisse | .... | assistant costumer | |
Editorial Department | |||
| Jeanne Kef | .... | trainee | |
| Sylvie Quester | .... | assistant editor | |
Music Department | |||
| William Flageollet | .... | music engineer (uncredited) | |
| Peter Knight | .... | orchestrator (uncredited) | |
| London Symphony Orchestra | .... | orchestra (uncredited) | |
| Howard Shelley | .... | musician: piano (uncredited) | |
Transportation Department | |||
| Raymond Borne | .... | production driver | |
| Roland Godard | .... | production driver | |
Other crew | |||
| Michèle Andreucci | .... | script supervisor | |
| Agnès Chaulier | .... | production administrator | |
| Claude Davy | .... | press relations | |
| Jacques Delor | .... | location manager | |
| Louis Grau | .... | general administration | |
| Nicole Souchal | .... | production secretary | |
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| Girl on the Bridge | Atonement | A Single Man | Pearl Harbor | Chéri |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb France section |
Gilles is sponging off his mother, who runs a small hotel in a French coastal city. When he meets Helene, she takes over the job of mothering him, even treating his minor wounds at the hospital one night when he gets into a fight. Gilles's other passionate relationship is with Bernard, a self-absorbed, mediocre singer-guitarist who can't stay out of trouble with the law. Bernard's true passion is probably for Luc, the gay man he beats up in a washroom.
It's beautifully made; sometimes I thought I was watching a Carne film with Michele Morgan instead of Catherine Deneuve. Bruno Nuytten was the cinematographer; there's no one better for moody night scenes. Philippe Sarde's music is full-blown romantic, sometimes too much so. Techine doesn't bother with character development through plot, he just assumes that whatever passes in front of his camera is telling the story. Those casino scenes go nowhere, and the effort to bring Helene's dead lover's architectural plans to life is wasted, since it's just another occasion for Gilles to look hangdog and helpless.
All in all, it left me wondering about Techine's willingness to engage the viewer in the film's material. I walked out of Barocco many years ago, and Soeurs Bronte left me pretty much cold, although I admired the acting. Hotel des Ameriques doesn't seem to be about anything, and the characters are cardboard.