| Sandrine Kiberlain | ... | Mathilde | |
| Vincent Lindon | ... | Nico | |
| François Berléand | ... | Le docteur | |
| Francine Bergé | ... | La mère de Mathilde | |
| Pierre Cassignard | ... | Etienne | |
| Philippe Magnan | ... | Le praticien | |
| Florence Loiret Caille | ... | Chloé (as Florence Loiret) | |
| Léo Le Bevillon | ... | Arthur | |
| Sylvie Loeillet | ... | Assistante de Nico | |
| Anne Fassio | |||
| Pascale Mariani | |||
| Geoffrey Bateman | |||
| Louis Lindon | |||
| Jean-Claude Barban | |||
| Eriq Ebouaney | |||
| Marc Rioufol | |||
| rest of cast listed alphabetically: | |||
| Maria da Conceica Ferreira | |||
| Pascal Daubias | |||
Directed by | |||
| Benoît Jacquot | |||
Writing credits | ||
| Benoît Jacquot | & | |
| Jérôme Beaujour | ||
Produced by | |||
| Georges Benayoun | .... | producer | |
| Philippe Carcassonne | .... | producer | |
| Françoise Guglielmi | .... | executive producer | |
| Chantal Poupaud | .... | associate producer | |
Cinematography by | |||
| Romain Winding | |||
Film Editing by | |||
| Pascale Chavance | |||
Casting by | |||
| Frédérique Moidon | |||
Production Design by | |||
| Arnaud de Moleron | |||
Costume Design by | |||
| Caroline de Vivaise | |||
Makeup Department | |||
| Karina Gruais | .... | makeup artist | |
| Stéphane Malheu | .... | hair stylist | |
| Nathalie Tissier | .... | key makeup artist | |
Production Management | |||
| Patrice Arrat | .... | production manager | |
| Eric Bassoff | .... | post-production supervisor | |
| Gilles Martinerie | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Antoine Santana | .... | assistant director | |
Art Department | |||
| Dominique Canal | .... | painter | |
| Nicolas Doyon | .... | construction manager | |
| Bruno Via | .... | assistant art director | |
| Catherine Werner Schmit | .... | set decorator (as Catherine Werner-Schmidt) | |
Sound Department | |||
| Jean-Pierre Laforce | .... | sound mixer | |
| Daniel Sobrino | .... | boom operator | |
| Pascal Villard | .... | sound editor | |
| Michel Vionnet | .... | sound | |
Special Effects by | |||
| Benoît Lestang | .... | special effects | |
Camera and Electrical Department | |||
| Jean-François Garreau | .... | key grip | |
| Nicolas Juge | .... | electrician | |
| Philippe Lardon | .... | first assistant camera | |
| Bruno Le Cardonnel | .... | grip | |
| Dorothée Lindon | .... | still photographer | |
| Philippe Ramdane | .... | additional first assistant camera | |
| Olivier Rodriguez | .... | gaffer | |
| Thierry Valletoux | .... | still photographer | |
Costume and Wardrobe Department | |||
| Elisabeth Mehu | .... | set costumer | |
| Patricia Saalburg | .... | costumer | |
Other crew | |||
| Virginie Barbay | .... | script supervisor | |
| Dora Benchetrit | .... | production assistant | |
| Dominique Frizat | .... | production secretary | |
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| Intimate Strangers | On a Clear Day You Can See Forever | The Witnesses | Day of the Wacko | The UFO Incident |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb France section |
Seventh Heaven seems to be a "snapshot" of a married relationship that has reached a development stage that neither husband nor wife fully understands. Married for awhile, a son of 6 or 7, a nanny, a nice apartment; he's a surgeon and she's a lawyer/notaire, no apparent money problems. To my mind, what's occurring is partly stagnation and partly depression. There are at least two key factors: 1) The wife is experiencing largely psychosomatic fainting spells, often related to her low-level but historic kleptomania, and 2) The husband is not exactly losing interest but confused over her malady. She winds up seeing a man she literally runs into, who turns out to be a hypnotist; a result is both apparent cessation of her thieving as well as the achievement of the ability to experience orgasm, apparently for the first time in her life. Up until that point in their sex life, the husband has satisfied himself as the wife lies quietly, telling him "not to worry, I just don't get there." Then in her "new life" they're making love and she has an orgasm that she obviously enjoys and in which she wants to include him, but it scares him to death and affects both his desire and performance -- perhaps not untypically for many men. In the end, after much to-ing and fro-ing, they begin to see the changes as being positive; he through conversation with both a fellow doc at his hospital and with another hypnotist that he is unable to relate to. The resolution phase is, to me, fraught with a lot of significant messages that are both non-verbal and hard to "catch" as the movie moves on, but the denouement seems to click. I want to say I wish the film had been more explicit, but that's probably exactly the reason it's so good. It's worth a shot.