| Photos (see all 9 | slideshow) | Videos |
| Victoire Thivisol | ... | Ponette | |
| Delphine Schiltz | ... | Delphine | |
| Matiaz Bureau Caton | ... | Matiaz | |
| Léopoldine Serre | ... | Ada | |
| Marie Trintignant | ... | La mère | |
| Xavier Beauvois | ... | Le père | |
| Claire Nebout | ... | La tante | |
| Aurélie Vérillon | ... | Aurélie | |
| Henri Berthon | ... | L'Instituteur | |
| Carla Ibled | ... | Carla | |
| Luckie Royer | ... | Luce | |
| Antoine du Merle | ... | Antoine | |
| Marianne Favre | ... | Marianne | |
| rest of cast listed alphabetically: | |||
| Hadrien Bouvier | ... | Extra | |
| Benjamin Lemaire | ... | Anthony | |
Directed by | |||
| Jacques Doillon | |||
Writing credits | ||
| Jacques Doillon | (written by) | |
| Brune Compagnon | (scenario collaborator: for first draft) | |
Produced by | |||
| Christine Gozlan | .... | executive producer | |
| Alain Sarde | .... | producer | |
Original Music by | |||
| Philippe Sarde | |||
Cinematography by | |||
| Caroline Champetier | |||
Film Editing by | |||
| Jacqueline Fano | (as Jacqueline Lecompte) | ||
Casting by | |||
| Christel Baras | |||
| Sophie Blanvillain | |||
| Antoinette Boulat | |||
| Brune Compagnon | |||
| Lola Doillon | |||
| Ève Guillou | |||
| Marick Hermet | |||
| Magali Montoya | |||
| Sandrine Revet | |||
Production Design by | |||
| Henri Berthon | |||
Makeup Department | |||
| Laurence Azouvy | .... | makeup artist: Marie Trintignant (as Laurence Azouvy-Jarriau) | |
Production Management | |||
| Eric Aufèvre | .... | assistant unit manager (as Eric Aufevre) | |
| Laurence Diaz | .... | assistant unit manager | |
| Pierre-Alban Guyot | .... | assistant unit manager | |
| Philippe Robine | .... | assistant unit manager | |
| Florence Sempé | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Marie de Laubier | .... | assistant director | |
| Sandrine Revet | .... | second assistant director | |
| Emmanuel Rigaut | .... | third assistant director | |
Sound Department | |||
| Patrice Birzin | .... | cable person | |
| Pascal Chauvin | .... | foley artist | |
| Pascal Dedeye | .... | assistant foley artist | |
| Michel Filippi | .... | post-synchronisation | |
| Dominique Hennequin | .... | foley artist | |
| Dominique Hennequin | .... | post-synchronisation | |
| Dominique Hennequin | .... | sound | |
| Jean-Claude Laureux | .... | sound editor | |
| Jean-Claude Laureux | .... | sound | |
| Jean-Louis Lebras | .... | boom operator (as Jean-Louis Le Bras) | |
| Francis Perrard | .... | stereo sound consultant: Dolby (as Francis Perreard) | |
| Brigitte Taillandier | .... | assistant sound | |
| Nathalie Vidal | .... | assistant sound editor | |
Editorial Department | |||
| Saskia Berthod | .... | editor trainee | |
| Gerard Savary | .... | color timer | |
Music Department | |||
| Hubert Bougis | .... | orchestrator | |
| Michael Davis | .... | musician: violin | |
| Keith Harvey | .... | musician: cello | |
| David Snell | .... | conductor | |
| Peter Strosser | .... | musician: piano | |
| John Timperley | .... | music editor | |
Other crew | |||
| Valérie Arroyo | .... | administrator | |
| Cécile Cabel | .... | production secretary | |
| Ophélie Gelber | .... | assistant: instructor for children | |
| Kris Portier de Bellair | .... | instructor: children acting | |
| Muriel Robine | .... | production secretary | |
| Eva Simonet | .... | press agent | |
| Odile Sogno | .... | assistant: instructor for children | |
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| Pickpocket | Betty Fisher et autres histoires | La buena vida | Persepolis | Edvard Munch |
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Nobody watching this film can failed to be touched, moved, transported and transformed by it. Others here have already expressed the enormous power of the movie, and particularly of its star, Victoire Thivisol. If you're reading this to see if you should watch it, I'd say, drop everything and go buy it so you can watch it over and over. But buy a case of Kleenex (TM) too, you're going to need them!
As I watched the movie, I had the impression that director Jacques Doillon had simply found a real-life tragedy and somehow followed the participants through it with his camera. Nothing in this film gives you the impression of having been written, scripted, staged, produced. It is all so completely natural that you experience first hand the pain, the emotional agony of Ponette, as if she were your own daughter, your own sister, even your own self.