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Les convoyeurs attendent (1999)

Dreaming of more than his routine life, a father pushes his 15 years old son to break a world record: opening and closing a door 40,000 times in 24 hours.

Director:

5 wins & 3 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Roger (father)
Morgane Simon ...
Luise (daughter)
...
Coach
Dominique Baeyens ...
Madeleine (Mother)
Philippe Grand'Henry ...
Felix
Jean-François Devigne ...
Michel (son)
Lisa Lacroix ...
Jocelyne
...
Overseer
Édith Le Merdy ...
Edith (Jocelyne's mother)
Patrick Audin ...
Patrick (Jocelyne's father)
Claude Caudron ...
Schoolteacher
Simone Tasiaux ...
Radio announcer
Renaud Rutten ...
Pushy pigeion raiser
Martin Viot ...
Child on the empty lot
Joshua Noppe ...
Child on the empty lot
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Storyline

Dreaming of more than his routine life, a father pushes his 15 years old son to break a world record: opening and closing a door 40,000 times in 24 hours.

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

Certificate:

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Parents Guide:

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Details

Country:

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Language:

Release Date:

19 May 1999 (Belgium)  »

Also Known As:

A szállítók várnak  »

Box Office

Opening Weekend:

$1,924 (USA) (17 March 2000)

Gross:

$5,518 (USA) (24 March 2000)
 »

Company Credits

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Technical Specs

Sound Mix:

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Did You Know?

Trivia

The unusual title is actually a term used by pigeon-fanciers meaning "the carriers are waiting". It's used when a race has been delayed due to inclement weather. See more »

Connections

Features Pédale douce (1996) See more »

Soundtracks

Take My Hands
Written by Stéphane Huguenin, Yves Sanna
Performed by Stéphane Huguenin
See more »

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User Reviews

 
Naturalistic surrealism.
26 April 2000 | by (moscow, russia) – See all my reviews

It's wonderful to see that Shane Meadows is already exerting international influence - LES CONVOYEURS ATTENDANT shares many themes with A ROOM FOR ROMEO BRASS: the vague class identity above working but well below middle, the unhinged father, the abandoned urban milieu, the sense of adult failure, the barely concealed fascism underpinning modern urban life.

But if Meadows is an expert formalist, Mariage trades in images, and his coolly composed, exquisitely Surreal, monochrome frames, serve to distance the grimy and rather bleak subject matter, which, Meadows-like, veers from high farce to tragedy within seconds.

There are longueurs and cliches, but Poelvoorde is compellingly mad, an ordinary man with ordinary ambitions, whose attempts to realise them are hatstand dangerous; while individual set-pieces - the popcorn/pidgeon explosions; the best marriage sequence since THE DEAD AND THE DEADLY - manage to snatch epiphany from despair.


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