IMDb > The Loss of Sexual Innocence (1999)
The Loss of Sexual Innocence
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The Loss of Sexual Innocence (1999) More at IMDbPro »

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The Loss of Sexual Innocence -- Open-ended Trailer from Sony Pictures Classics


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Mike Figgis (writer)
View company contact information for The Loss of Sexual Innocence on IMDbPro.
Release Date:
29 April 1999 (Germany) See more »
Confused, non-linear film tells the sexual story of a film director from his life at age 5, age 12, age 16... See more » | Add synopsis »
Plot Keywords:
User Reviews:
the loss of memory See more (70 total) »


  (in credits order)

Julian Sands ... Adult Nic

Saffron Burrows ... English / Italian Twin

Stefano Dionisi ... Luca

Kelly Macdonald ... Susan

Gina McKee ... Susan's Mother

Jonathan Rhys Meyers ... Nic, aged 16

Bernard Hill ... Susan's Father

Rossy de Palma ... Blind Woman
John Cowey ... Nic, aged 5
Nina McKay ... Mixed Race Girl
Dickson Osa-Omorogbe ... Wangi
Jock Gibson Cowl ... Old Colonial Man

Justin Chadwick ... Flash Man

Femi Ogunbanjo ... Adam
Hanne Klintoe ... Eve

Johanna Torell ... Nic's Wife
Geriant Ellis ... Nic's Son
George Moktar ... Nic, aged 12
Mark Long ... 1st Detective / Man in Dream
Red Mullet ... 2nd Detective
Joe Cunningham ... Policeman
Wesley Kipling ... Nic's Brother, aged 3
Anthony Cleckener ... One of the 'Four Boys'
James Younger ... One of the 'Four Boys'
Malcolm Holmes ... One of the 'Four Boys'
Jeffrey Coulson ... One of the 'Four Boys'
James Bradley ... Band Member
Nick Figgis ... Band Member
David Medlycott ... Band Member
Clare Jones ... Baby Twin
Zoe Jones ... Baby Twin
Marina Ilina ... Novice Nun

Fabrizia Dal Farra ... Novice Nun
Roderic Leigh ... Boring Businessman
Rachel Boss ... Italian Woman

Bruno Bilotta ... Italian Man

Rodney Charles ... Charlie
Phil Swinburne ... Games Teacher
Cite Chebbi ... Blue Child
Neziha Youssef ... Blue Mother
Rami Chebbi ... Blue Father
rest of cast listed alphabetically:
Terry Crump ... Undertaker (uncredited)

Linda Evangelista ... Italian Woman (uncredited)

Directed by
Mike Figgis 
Writing credits
(in alphabetical order)
Mike Figgis  writer

Produced by
Mike Figgis .... producer
Barney Reisz .... co-producer
Annie Stewart .... producer
Patrick Wachsberger .... executive producer
Original Music by
Mike Figgis 
Cinematography by
Benoît Delhomme 
Film Editing by
Matthew Wood 
Casting by
Jina Jay 
Production Design by
Giorgio Desideri 
Costume Design by
Florence Nicaise 
Makeup Department
Essia Baaziz .... makeup artist: Tunisia
Katya Thomas .... makeup designer
Production Management
Andrea Borella .... production supervisor
Jacquie Glanville .... production manager
Second Unit Director or Assistant Director
Mounir Baaziz .... assistant director: Tunisia
Paola Barbaglia .... second assistant director: Italy
Amanda Blue .... second assistant director
James Bradley .... first assistant director
Alexis Cahill .... assistant director: Italy
Marc Charach .... third assistant director
Art Department
Karen Britcliffe .... scenic artist: Newcastle
Giorgio Desideri .... production designer: Italy
Gianni Fiumi .... property master: Italy
Mark Long .... production designer: Newcastle
Alberto Tosto .... art director: Italy
Jessica Worrall .... production designer: Newcastle
Sound Department
Ed Colyer .... adr mixer (as Edward Colyer)
Mike Dowson .... sound re-recording mixer
James Feltham .... sound editor
Arthur Graley .... foley editor
Arthur Graley .... sound editor
Nigel Heath .... supervising sound editor
Lionel Selwyn .... foley artist
Jean Sheffield .... foley artist
Julian Slater .... sound editor
Julian Slater .... sound mixer
Mark Taylor .... foley mixer
Mark Taylor .... sound re-recording mixer
Nick Watson .... sound consultant: Dolby
Pawel Wdowczak .... sound mixer
Visual Effects by
Steve Boag .... offline auto-conform
Martin Bullard .... optical coordinator
Charles Green .... optical printer operator
David Ambrosi .... stunt diver
Camera and Electrical Department
Lucy Bristow .... focus puller
Robert Brock .... generator operator
Danny Cohen .... focus puller (as Daniel Cohen)
Clive Coote .... still photographer
Skander Dhaoui .... gaffer: Tunisia
Kevin Edland .... best boy
Mauro Falomi .... clapper loader: Italy
Federico Falsini .... video controller
John Higgins .... gaffer
Ashley Horner .... video assist operator
Stefano Marino .... gaffer: Italy
Kory Mills .... grip
Luigi Orso .... key grip: Italy
Lotfi Siala .... electrician: Tunisia
Liz Thornton .... assistant camera
Andrew Wiggins .... clapper loader
Jon Wilson .... assistant camera
Casting Department
Shaheen Baig .... casting assistant
Russell Gow .... casting: Newcastle
Costume and Wardrobe Department
Alan Blue .... costume supervisor
Georgia Boyle .... assistant costume designer
Catherine Buyse Dian .... wardrobe assistant: Italy
Kamel Marmouche .... wardrobe assistant: Tunisia
Editorial Department
Vaughn Mullady .... negative cutter
Lars Vinther .... assistant editor
Tom Mayclim .... negative cutting assistant (uncredited)
Location Management
Beatrice Arweiler .... location manager
Christine Llewellyn Reeve .... location manager: Newcastle (as Christine Llewellyn-Reeve)
David Medlycott .... assistant location manager: Newcastle
Brahim Toumi .... location manager: Tunisia
Music Department
Tony Coe .... musician: clarinet
Mike Figgis .... musician: trumpet
Louise Hammar .... music coordinator
James Mallison .... music producer
Dana Sano .... music supervisor
Mark Tucker .... music co-producer
Geoff Foster .... score recording & mixing (uncredited)
Other crew
John Caro .... runner
Cristina De Rossi .... production coordinator: Italy
Caroline Deeds .... production assistant
Rita Dhaoui .... production coordinator: Tunisia
Rosalind Edmunds .... production assistant
Shirlaine Forrest .... production assistant
Nigel Horn .... laboratory coordinator
Ira Hurvitz .... script supervisor
Sarah Hutchison .... assistant production accountant
Alan John .... production accountant
Massimo Perla .... dog trainer
Susannah Ramsey .... runner
Joan Thompson .... production coordinator
Natasha Tilley .... production runner
Viola Vergani .... production assistant
Armando Zappi .... crowd marshall: Italy

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Additional Details

Also Known As:
Rated R for strong sexual images, pervasive nudity, violence and language
106 min
Aspect Ratio:
1.78 : 1 See more »
Sound Mix:

Did You Know?

American financing fell through because the company involved wanted Adam to be white and Eve to be black for the Garden of Eden sequences.See more »
TräumereiSee more »


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17 out of 26 people found the following review useful.
the loss of memory, 18 July 2003
Author: donqt from seattle, WA

The LoSI may have been my favourite movie from 1999. To help set the scene for that comment, my favourite movie from 1998 may have been The Thin Red Line. It seems that movies that I love generally split the audience into two groups. Those that lose interest or are disgusted, and those that find these manifestations of the possibilities offered by film making exciting.

I enjoy films that are told through cliche as much as the next person. High production values, non-innovative camera work, predictable characterizations (even within complex plot lines) are fun. But I also like to see the breadth of cinema challenged. Occasionally, films are able to appeal to both the audiences that want familiar story telling methods, and those that want to be challenged. It's great when that happens, but both the LoSI and the TRL have failed to do this for a significant portion of the audience (blue vs red America?).

Some of the best parts of LoSI have to do with capturing moments that distill those things that we share. For example, the fumbling teenage living room scene hit some parts of the give and take of early sexual experience perfectly. A frustrated car ride captures family dyamics, and the everyday moments of getting along/by better than any other film I've seen. A distant viewing of domesticity (including putting a child to bed and love making over chopped vegetables) through a window precisely underscore more cliches of everyday living that are cliches because they happen to us. Perhaps because these scenes don't inform a simple story narrative, they fail to hold the interest of those looking for escape FROM life (again, as everyday lived). But I'm not looking for that. I'm looking for a celebration of identity, and those things that create it, and I am willing to work my way through what is, I think, essentially a character piece.

This movie does, I think, a very good job of giving us, in two hours, a short examination of the develpment of one character's sexuality. How that development is a loss of sexual innocence, and how this loss ties in to larger ideas in our society (adam and eve), is something that I have both an academic (reflective) and an aesthetic (less relfective) interest in. As such, this movie appeals to me.

It won't appeal to everyone. I think that a good way to judge whether you should see this movie or not is if you _LOVED_ Saving Private Ryan and _HATED_ The Thin Red Line. If so, do NOT see this movie. If you liked both, or liked only the thin red line, you'll probably be more interested in watch LoSI.

The audience probably splits similarly in regards to the Figgis Filmography. Much of his early (mass market) work appeals to the first set (but not exclusively). His later work, the second (exclusively).

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