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Innocence (2000) More at IMDbPro »

Innocence -- US Theatrical Trailer from Columbia Tristar


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Down 3% in popularity this week. See why on IMDbPro.
Paul Cox (written by)
View company contact information for Innocence on IMDbPro.
Release Date:
9 November 2001 (USA) See more »
Remember to love, surrender to love, and vow to never, never forget See more »
After more than forty years apart, Andreas and Claire embark on an affair as reckless and intense as when they were young lovers... See more » | Add synopsis »
Plot Keywords:
9 wins & 6 nominations See more »
User Reviews:
In search of the truth about love. See more (32 total) »


  (in credits order) (complete, awaiting verification)

Julia Blake ... Claire
Charles 'Bud' Tingwell ... Andreas Borg (as Charles Tingwell)
Kristine Van Pellicom ... Young Claire
Kenny Aernouts ... Young Andreas
Terry Norris ... John

Marta Dusseldorp ... Monique
Robert Menzies ... David

Chris Haywood ... Minister
Norman Kaye ... Gerald
Joey Kennedy ... Sally
Liz Windsor ... Maudie
Dawn Klingberg ... Restaurant Owner
Peter Berger ... Doctor #1
Kate Roberts ... Doctor #2
Michaela Cantwell ... Nurse
Kyra Cox ... Nurse
Carmel Johnson ... Nurse Jennifer-Claire
Rory Walker ... Male Receptionist
Mary Bleby ... Old Woman in Church
Tommy Darwin ... Cemetery Supervisor
Lucy Slattery ... Waitress
Angela Noack ... Woman in grave
Christine Danton ... Contortionist
Jan Dyck ... Andreas' Father
Peter Gaetjem ... Guitarist
Kerryn Schofield ... Piano Accordionist
rest of cast listed alphabetically:
Tara Sobol ... Restaurant patron (uncredited)

Directed by
Paul Cox 
Writing credits
Paul Cox (written by)

Produced by
Paul Cox .... producer
William T. Marshall .... executive producer
Mark Patterson .... producer
Willem Thijssen .... associate producer
Original Music by
Paul Grabowsky 
Cinematography by
Tony Clark 
Film Editing by
Simon Whitington 
Production Design by
Tony Cronin 
Makeup Department
Mireille Hoetelmans .... hair stylist: Belgian crew
Mireille Hoetelmans .... makeup artist: Belgian crew
Jodee Lenaine-Smith .... makeup assistant
Suzie Warhurst-Steele .... hair stylist
Suzie Warhurst-Steele .... makeup artist
Production Management
Julie Byrne .... production manager
Joke Clerx .... production manager: Belgian crew
Kim van Oeteren .... unit manager: Belgian crew
Margot Wiburd .... post-production supervisor
Second Unit Director or Assistant Director
Willem Thijssen .... first assistant director: Belgium
Art Department
Gerd Aertsen .... props: Belgium
Sarah Townsend Gun .... art department attachment
Ludo Volders .... art director: Belgium
Sound Department
Mike Bakaloff .... boom operator (as Michael Bakaloff)
Emma Bortignon .... dialogue editor
Craig Carter .... sound mixer
Craig Carter .... sound
Craig Carter .... supervising sound editor
James Currie .... sound recordist: Belgian crew
James Currie .... sound
Bruce Emery .... sound stereo consultant: Dolby
Adrian Medhurst .... foley assistant
John Simpson .... foley artist
Simon Whitington .... sound effects editor
Tony Young .... foley recordist
Tony Young .... sound mixer
James Seddon .... dolby consultant (uncredited)
Visual Effects by
Paul Cross .... opticals
Camera and Electrical Department
Wim Cloots .... electrician: Belgium
Kyra Cox .... still photographer: Melbourne
Dirk Favere .... gaffer: Belgium
Koen Firlefijn .... key grip: Belgium
Jon Goldney .... key grip
Charles Kiroff .... gaffer
Gerrit Messiaen .... assistant camera: Belgium
Hugh Miller .... best boy
Judd Overton .... clapper loader
Xavier Rombouts .... still photographer: Belgium
Hans Sonneveld .... assistant camera: Belgium
Hans Sonneveld .... focus puller
Todd Telford .... assistant grip
Felix van Groeningen .... assistant grip: Belgium
Kim van Oeteren .... still photographer: Belgium
Dirk Van Rampelbergh .... electrician: Belgium
Jan Vancaillie .... director of photography: Belgium
Casting Department
Sara de Vries-Vinck .... casting: Belgium (as Sara de Vries)
Costume and Wardrobe Department
Bernadette Corstens .... costume designer: Belgium
Erwina Sleutel .... wardrobe: Belgium
Suzie Warhurst-Steele .... wardrobe
Editorial Department
Ian Letcher .... color grader
Julia MacLeod .... negative matcher
Location Management
Sarah Abbey .... location manager
Bart Eycken .... location manager: Belgium
Music Department
David Gallasch .... musician: organ
Roger Glanville-Hicks .... musician: lute
Paul Grabowsky .... musician: piano
Ian Johnson .... musician: organ
Mark Knoop .... musician: accordion
Isabel Morse .... musician: viola
Sarah Morse .... musician: cello
John O'Donnell .... musician: organ
Christine Sullivan .... musician: voice
Robin Gray .... music scoring engineer (uncredited)
Other crew
Julie Byrne .... production coordinator
Dale Fairbairn .... production accountant
John Fairhead .... production runner
Louis Keramidas .... laboratory liaison
Sharon Kerrigan .... assistant coordinator
Mojgan Khadem .... continuity
Ian Letcher .... laboratory liaison
David Lightfoot .... consultant producer
Shaun Miller .... director attachment
Chris Pike .... production runner
Jo Stewart .... post-production script
Oliver Streeton .... title designer
Maite Thijssen .... runner: Belgium (as Maité Thijssen)
Griet Van Cleemput .... runner: Belgium
Leonie Verhoeven .... assistant to director
Leonie Verhoeven .... production assistant: Belgium
Margot Wiburd .... script editor
Ezra Erker .... thanks
Judith Herzberg .... thanks
John Larkin .... thanks
Tony Llewellyn-Jones .... thanks (as Tony Llewellyn Jones)
Judith McCann .... thanks
Marius Murdoch-Cox .... thanks
Malcolm Richards .... thanks
Barbara Ring .... thanks
Michael Rowan .... thanks
Jan Stelder .... thanks
Oliver Streeton .... thanks
Godfried Van de Perre .... thanks
Aden Young .... thanks
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Rated R for sexuality/nudity
94 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Claire:It isn't always possible to resist... to obey the rules and deny the things that really matter.See more »
Movie Connections:
Referenced in The Holiday (2006)See more »
I'll Take You Home KathleenSee more »


This FAQ is empty. Add the first question.
3 out of 3 people found the following review useful.
In search of the truth about love., 2 April 2008
Author: Roger Burke from Brisbane, Australia

You expect thought-provoking films from Paul Cox, the director of Man of Flowers (1983), My First Wife (1984) and other films that take an uncompromising or quirky view of life. This film is another in that fine tradition.

Who hasn't thought about a first love and wondered? Perhaps wondered whether the break, when it came, was the right move? Or wondered why it broke off? Or wondered about a countless number of things that might or might not have happened?

Using that idea as the starting point, Cox constructed an intricate visual narrative about what could happen should an aging man – a widower – choose to contact the woman he first loved some forty-five years earlier, with the view of finding out how her life has turned out.

A perfectly innocent idea, one could think. Except that, when contacted, the man discovers that the woman is still married. Undeterred, he also realizes he is still as passionate now – or more so – and sets out to rekindle the flame of their youth. Equally she responds, at first tentatively, but soon with reckless abandon.

And so begins the re-awakening of a first love that both parties thought had withered away...but not entirely forgotten by either. And so, the fundamental question that Cox asks his players to portray, however, is this: just what sort of love is it now, after forty plus years? Is it still true love? Is it simply lust? Is it a mix? More importantly, what is love, after all?

With such a topic, this could have been reduced to a banal pot-boiler, a weepy soap, or grand melodrama in the hands of less experienced writer/directors. It's none of those: instead, it's a mature enquiry into the true nature of married love versus romance. Affairs, of course, have been a staple of Hollywood and others, I guess, in such well-remembered films as An Affair To Remember 1959), The Last Time I Saw Paris (1955), Brief Encounter (1944) and many others.

None of that saccharine sentimentality forms any part of this narrative. Instead, it's so down to earth, I began to wonder whether Australia has a peculiar kind of love: different cultures handle this topic differently, for sure, but only in Australia, I think, would a woman leave her lover's bed, go home, and then start cooking dinner for her aggrieved husband. Are Aussies that stolid, that practical, or that uncaring? Even as an Australian, I'm not sure...

There's very little in the manner of hysterical lamentations or outraged ranting; and only the husband shows brief anger towards his grown son, the doctor who tries to counsel his mother and father – to no avail, of course. What there's plenty of, however, is confusion, as each character tries to adjust to a couple in their mid-sixties having an open affair. So, as you might expect, there are moments of light comedy, wistful reminiscences, and, of course, rolling around in bed, locked together – but very tastefully done.

But is it all realistic, and truly representative, given the setting, the culture, and their age? Well, I'm sure most of us have seen true-life results of affairs: most are not pretty; some are down and dirty; a few are murderous. In contrast, this affair is quiet, contained and very civilized.

But, in Australia, I've never seen oldies like myself rolling around on a riverside grass verge, or kissing passionately on a suburban train station; it could happen, however, I'll grant you. However, most older Aussies – of the type portrayed - still have a remnant of that Celtic reserve brought over when the colony started in 1788; and it hangs on. Perhaps, then , Cox is simply holding up the idea that such an affair is possible, even between people who are so reserved, so settled and in the twilight of their diminishing years; and especially in Australia. In truth, I'd like to see that, and this story is as good as it gets, perhaps.

As the lover-come-back wannabe, Bud Tingwell, as Andreas, gives a great understated portrayal of a man who's found a new lease on life but, ironically, too late; Julia Blake, as Claire, is almost unbelievably stunning; Terry Norris, as John, the confused husband, is valiant in his efforts to win his wife back. The standout – albeit brief – performance, however, comes from Marta Dusseldorp, as Monique, Andreas's daughter whose care and concern for her aging father is achingly real.

My real criticism is with the script: at times, I was a bit uncomfortable with the lack of expletives you would expect to hear from people who are greatly upset emotionally, and all with diction that remains so perfectly enunciated, and with very little idiomatic or slang expressions. Not quite what you'd hear from Aussies in reality, I think, even those well educated and still religious, as they all apparently are. I doubt that even one of them said 'bloody'. Perhaps that was intentional by Cox, though, to garner a wider international audience?

Some may be disappointed in the ending as being too contrived, being almost a parody of an ecstatic whirling Dervish. My only thought is that there are so many endings that could happen. This was just one that had to happen.

Those aspects apart, it's still a fine story and film, and one that I'd recommend.

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