IMDb > Peau d'homme coeur de bête (1999)

Peau d'homme coeur de bête (1999) More at IMDbPro »


Overview

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Director:
Writers:
Hélène Angel (scenario)
Hélène Angel (screenplay)
(more)
Contact:
View company contact information for Peau d'homme coeur de bête on IMDbPro.
Release Date:
15 December 1999 (France) See more »
Genre:
Awards:
4 wins See more »
NewsDesk:
pages from a cold island: Modern History
 (From MUBI. 23 December 2009, 11:18 PM, PST)

User Reviews:
Feminist Parable See more (14 total) »

Cast

  (in credits order)
Serge Riaboukine ... Francky

Bernard Blancan ... Coco
Pascal Cervo ... Alex
Maaike Jansen ... Marthe (as Maaíke Jansen)
Cathy Hinderchied ... Aurelie
Virginie Guinand ... Christelle
Jean-Louis Richard ... Tac Tac
Cyril Lecomte ... Anthony
Guilaine Londez ... Annie
Marc Brunet ... Bibof
Cindy Mostacci ... Jessica
Françoise Bertin ... Mademoiselle Espitalier
René Morard ... Le père de Bibof
Robert Lucibello ... Le commissaire
Frédéric Proust ... Caguette
Christian Mazucchini ... Babar
Laurent Pietin ... Babar
Emilie Lafarge ... La fille menottée
Laetitia Palermo ... L'aide-soignante

Directed by
Hélène Angel 
 
Writing credits
(in alphabetical order)
Hélène Angel  scenario
Hélène Angel  screenplay
Jean-Claude Janer  writer
Agnès de Sacy  writer

Produced by
Hélène Cases .... executive producer
Pascal Caucheteux .... producer
 
Original Music by
Philippe Miller 
Martin Wheeler 
 
Cinematography by
Isabelle Razavet 
 
Film Editing by
Eric Renault 
Laurent Rouan  (as Laurent Roüan)
 
Casting by
Claude Martin 
 
Production Design by
Mathieu Menut 
 
Art Direction by
Mathieu Menut 
 
Costume Design by
Catherine Rigault 
 
Makeup Department
Sylvie Aid .... key makeup artist
Delphine Jaffart .... makeup artist
Delphine Lacaze .... key hair stylist
 
Production Management
Roxanne Pinheiro .... assistant unit manager
Sophie Quiédeville .... unit manager
 
Second Unit Director or Assistant Director
Philippe Larue .... first assistant director
Marc Olry .... second assistant director
 
Art Department
Laurent Baude .... assistant art director
Nicolas Chick .... property master
 
Sound Department
Nicolas Becker .... foley artist
Emmanuelle Lalande .... sound editor
Olivier Mauvezin .... sound
Stéphane Thiébaut .... sound
Philippe Welsh .... sound assistant
 
Special Effects by
Guillaume Castagné .... special effects
 
Stunts
Philippe Vittoriani .... stunts
 
Camera and Electrical Department
Dominique Degand .... key grip
Olivier Dirksen .... gaffer
Pierre Hemon .... assistant camera
Jean-Claude Lother .... still photographer
Didier Versolatto .... electrician
 
Casting Department
Cendrine Lapuyade .... extras casting
Agathe Rozan .... extras casting
 
Editorial Department
Éliane Dorin .... assistant editor
Stéphane Jeaugeat .... assistant editor
Clotilde Tellier .... assistant editor
Anne-Cécile Vergnaud .... assistant editor
Sébastien Vin .... assistant editor
 
Other crew
Roselyne Bellec .... script supervisor
Ludovic Beurton .... assistant location manager
Abdelhadi El Fakir .... administrator
 

Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
Netherlands:94 min (Rotterdam Film Festival) | Switzerland:100 min (Locarno Film Festival)
Country:
Language:
Color:
Sound Mix:
Certification:
France:-12 | Netherlands:16 (DVD) (2009) | Switzerland:16 (canton of Geneva) | Switzerland:16 (canton of Vaud)
Company:

Did You Know?

Soundtrack:
Tonight we flySee more »

FAQ

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7 out of 10 people found the following review useful.
Feminist Parable, 16 September 2004
Author: conedust (adamrsbeales@hotmail.com) from Brooklyn, NY

The earliest reviews in this list are entirely baffling to me.

While this movie does deal with violence towards women (that's the whole point, really), it hardly CELEBRATES it. In fact, very little violence is shown on-screen, and much of that is male-on-male. There's an undeniable tone of threat throughout the film, certainly. A suffocating sense of impending violence overwhelms every frame.

You're made constantly aware just how close the men are to violent rage, and how likely the women (and girls) are to be targeted when this rage breaks out. This oppressive threat, once invoked, serves the film so well that very little actual, on-screen brutality is required to keep the audience in a state of anxious, horrified dread.

For example: in the beginning of the film, we learn that the police officer (one of the three brothers who represent masculinity in the film) is being sent on a forced vacation due to his drinking and unruly behavior. We also learn that his marital difficulties, though unspecified, have resulted in his wife's hospitalization. When asked about an injury to his hand, he jokes about someone hitting themselves on it.

Clearly, he's beaten his wife to the point where she required hospitalization! But we're never shown the incident (as we would be in, say, a Gaspar Noe or a Michael Hanneke film). "Peau d'homme..." makes its points with a great deal of subtlety.

As later, when we see the same character cavorting with two prostitutes in a brothel. There's nothing to the scene that suggests anything violent, but we later learn that the brothel owner is angry at the character because he has harmed one of the girls and "likes to make women bleed". (Note that this is seen as a property crime by the fat, odious brothel owner. He's not worried about the girl's pain and suffering, but only the fact that his merchandise has been damaged!)

Each of the three brothers represents a different kind of male violence/oppression. The older, thug-cop brother represents a "boys will be boys" attitude that allows abuse in the name of self-indulgence. He's a classic French masculine stereotype: the tough, womanizing, working-class anti-hero. But he's rendered here in a way that strips all the romance and glamor off the icon. We see the "charming rogue" for what he really is: nothing more than a childish, thoughtless scumbag.

The middle brother is a simpler maniac. He seems lost and gentle on the surface, but underneath he's a seething mass of confusion and misplaced rage. While his actions are not really any worse than those of the other "boys", he fails to conform to a traditional masculine stereotype, and is thus seen as monstrous. (And ultimately, of course, he's the only one of the three who actually kills a woman, but this seems like coincidence more than evidence of his greater evil.)

The youngest brother is the passive agent of others' brutality. He turns a blind eye to the enslavement and brutalization of women that surrounds him. We're tempted to see him as the "nice" one, but in truth he merely lacks agency.

I can see why a lot of people wouldn't like the view of male nature displayed in this film, but I've got to admit that it seemed accurate to me (if exaggerated for legitimate effect). Read a local paper any day of the week: you'll find story after story about abusive and/or murderous boyfriends, husbands, lovers and sons. Of women being sold around the world as sex-slaves, of adult men having sex with girls barely old enough to walk.

Being a woman in this world must be a lot like being locked in a box with a bunch of attractive hand grenades.

That's why the final scream of the two girls at the end really shouldn't be read as a "hopeful" sign, or a suggestion that they're rejecting the "cycle of violence" in their family. The cycle is not theirs. They have nothing to do with it, and the only relation they will every have with it is as its victims.

Their scream is a scream of rage.

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