| Photos (See all 15 | slideshow) |
| Gaspard Manesse | ... | Julien Quentin | |
| Raphael Fejtö | ... | Jean Bonnet / Jean Kippelstein | |
| Francine Racette | ... | Mme Quentin | |
| Stanislas Carré de Malberg | ... | François Quentin (as Stanislas Carré De Malberg) | |
| Philippe Morier-Genoud | ... | Père Jean | |
| François Berléand | ... | Père Michel | |
| François Négret | ... | Joseph | |
| Peter Fitz | ... | Muller | |
| Pascal Rivet | ... | Boulanger | |
| Benoît Henriet | ... | Ciron | |
| Richard Leboeuf | ... | Sagard | |
| Xavier Legrand | ... | Babinot | |
| Arnaud Henriet | ... | Negus | |
| Jean-Sébastien Chauvin | ... | Laviron | |
| Luc Etienne | ... | Moreau (as Luc Étienne) | |
| Daniel Edinger | ... | Tinchaut | |
| Marcel Bellot | ... | Guibourg | |
| Ami Flammer | ... | Florent | |
| Irène Jacob | ... | Mlle Davenne | |
| Jean-Paul Dubarry | ... | Père Hippolyte | |
| Jacqueline Staup | ... | Infirmière | |
| Jacqueline Paris | ... | Mme Perrin | |
| René Bouloc | ... | Le restaurateur | |
| Alain Clément | |||
| Michael Rottstock | |||
| Detlef Gericke | |||
| Michael Becker | |||
| Thomas Friedl | |||
| Christian Sohn | |||
| Michel Ginot | |||
| Philippe Despaux |
Directed by | |||
| Louis Malle | |||
Writing credits | ||
| Louis Malle | (scenario) | |
Produced by | |||
| Louis Malle | .... | producer (uncredited) | |
Cinematography by | |||
| Renato Berta | |||
Film Editing by | |||
| Emmanuelle Castro | |||
Casting by | |||
| Jeanne Biras | |||
| Iris Carrière | (as Iris Carriere) | ||
Production Design by | |||
| Willy Holt | |||
Costume Design by | |||
| Corinne Jorry | |||
Makeup Department | |||
| Susan Robertson | .... | hair stylist | |
| Susan Robertson | .... | makeup artist | |
Production Management | |||
| Jean-Yves Asselin | .... | unit manager | |
| Jérôme Boussier | .... | assistant unit manager | |
| Gérald Molto | .... | production manager (as Gerald Molto) | |
Second Unit Director or Assistant Director | |||
| Mathieu Amalric | .... | trainee assistant director | |
| Patrick Cartoux | .... | second assistant director | |
| Yann Gilbert | .... | assistant director | |
Art Department | |||
| Benoît Clémenceau | .... | property master: furniture | |
| Michel Grimaud | .... | property master | |
Sound Department | |||
| Daniel Couteau | .... | foley artist | |
| Jean-Pierre Duret | .... | sound assistant | |
| Jean-Claude Laureux | .... | sound | |
| Bernard Leroux | .... | sound co-mixer | |
| Jacques Lévy | .... | post-synchronization (as Jacques Levy) | |
| Claude Villand | .... | sound mixer | |
Camera and Electrical Department | |||
| Jeanne-Louise Bulliard | .... | still photographer | |
| Stéphane Cresta | .... | key grip | |
| Jean-Marie Fadier | .... | second assistant camera | |
| Marc Koninckx | .... | Steadicam operator | |
| Robert Prévost | .... | chief electrician | |
| Jean-Paul Toraille | .... | first assistant camera | |
Casting Department | |||
| Sylvie Meyer | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Hélène Robin | .... | costumer | |
Editorial Department | |||
| Didier Jouyaux | .... | editor trainee | |
| Marie-France Poulizac | .... | assistant editor (as Marie France Poulizac) | |
Other crew | |||
| Chantal Desmoulins | .... | production secretary | |
| Christian Ferry | .... | production consultant | |
| Miyoko Gushiken | .... | hats | |
| Alain Guyard | .... | location manager | |
| France Lachapelle | .... | script supervisor (as France La Chapelle) | |
| Eva Simonet | .... | press attache | |
| Bernadette Zinck | .... | production accountant (uncredited) | |
Thanks | |||
| Jérôme Baroni | .... | thanks | |
| Nicolas Beaugrand | .... | thanks | |
| Frank Cocteaux | .... | thanks | |
| Samy Costet | .... | thanks | |
| Jean-Marc Crappé | .... | thanks | |
| François Cros | .... | thanks | |
| Philippe Doyen | .... | thanks | |
| Pascal François | .... | thanks | |
| Erwin Huck | .... | thanks | |
| Sébastien Lelaizant | .... | thanks | |
| Stéphane Moreau | .... | thanks | |
| Jérôme Navarro | .... | thanks | |
| J.Ch. Negrevergne | .... | thanks | |
| J.Ph. Negrevergne | .... | thanks | |
| Sylvain Paul | .... | thanks | |
| Xavier Pouchin | .... | thanks | |
| Philippe Rolin | .... | thanks | |
| Alvaro Rubio | .... | thanks | |
| François Rubio | .... | thanks | |
| Damien Salot | .... | thanks | |
|
|
|
|
|
| The Accompanist | The Ninth Day | Persepolis | The Best of Youth | The Tree of Wooden Clogs |
|
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Biography section | IMDb France section |
Possible SPOILERS. After having led a roaming and chaotic life during more than ten years abroad, Louis Malle came back in France and made the movie he was always to make. This one was rewarded in Venise where it won the golden Lion in 1987. "au revoir les enfants" tells the story of a friendship between the son of a wealthy family, Julien and a Jew boy, Jean Bonnet hidden under a false identity. However, at first sight, nothing lets see the start of a friendship between Julien and Jean. Julien feels admiration and curiosity towards this new student but we don't really know why and Jean pretends not to see him. A few events will bring them closer, especially a treasure hunt in the woods... It's a touching, moving and finally tragic story because the intervention of the Gestapo will lead this friendship to an end between the two boys. It's not the first time that a Louis Malle's movie takes place during the second world war. In 1974, "Lacombe Lucien" told the story of a young peasant who found his place in the Gestapo. If this movie had divided the French public, "au revoir les enfants" will provoke the unanimity. Both movies are successful and strong but "Lacombe Lucien" is a rough fiction whereas the other one is partly autobiographical. With this movie, Malle eagered to recall a memory that upset him when he was at school: the arrest of a few Jew children who were hidden under a false identity. This is this memory that he filmed in the last sequence. This last one is carefully prepared and filmed in the minute details as if Malle wanted to recall exactly what he saw it and then don't think about it definitely. This is one of Malle's most beautiful movies and his last great one.