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Seaside (2002) More at IMDbPro »Bord de mer (original title)

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Release Date:
4 December 2002 (France) See more »
Seaside takes place in a small coastal town on the Bay of Somme. The year-round inhabitants find ways to make their lives work; Paul... See more » | Add synopsis »
Plot Keywords:
1 win See more »
User Reviews:
"People come, people go, noting ever happens" See more (6 total) »


  (in credits order)
Bulle Ogier ... Rose
Ludmila Mikaël ... Anne
Hélène Fillières ... Marie

Jonathan Zaccaï ... Paul
Patrick Lizana ... Albert
Liliane Rovère ... Odette
Emmanuelle Lepoutre ... Albertine
Fabien Orcier ... Jacquot
Jauris Casanova ... Pierre
Audrey Bonnet ... Lilas
Jean-Michel Noirey ... Robert
Jacqueline Carpentier ... Denise
Alexandra Mercouroff ... Lucille
Antonia Ortu ... La serveuse de bar
Nathalie Pannel ... La femme notable
Séverine Hulin ... Une Ouvriere
Gwenaëlle Lemartelot ... Une Ouvriere (as Gwenaëlle Le Martret)
Pierre-Antoine Ortu ... Le patron
Jack Duponchelle ... Blanchard
Sophie Laloy ... La maquilleuse
Josette Ferriere ... La vielle dame

Directed by
Julie Lopes-Curval 
Writing credits
(in alphabetical order)
François Favrat 
Julie Lopes-Curval 

Produced by
Alain Benguigui .... producer
Original Music by
Christophe Chevalier 
Nicolas Gerber 
Cinematography by
Stephan Massis 
Film Editing by
Anne Weil 
Casting by
Nathanièle Esther  (as Nathaniele Esther)
Production Design by
Philippe van Herwijnen 
Costume Design by
Marie Malissen 
Makeup Department
Nadine Boucher .... trainee makeup artist
Vanessa Guérand .... assistant makeup artist
Mika Korkida .... key makeup artist
Maury Tollemer .... key hair stylist
Production Management
Marc Eloy .... production manager
Isabelle Soyer .... unit manager
Patrick Villeneuve .... post-production manager
Second Unit Director or Assistant Director
Carlo Da Fonseca Parsotam .... first assistant director (as Carlos Parsotam)
Julie Navarro .... second assistant director
Art Department
Denis Calvez .... property master
Sound Department
Julien Cloquet .... sound re-recording mixer
Steven Ghouti .... adr mixer
Benoît Gilg .... sound editor
Fabrice Gérardi .... sound editor
Sophie Laloy .... sound
Gildas Mercier .... sound mixer
François Méreu .... sound
Philippe Penot .... foley artist
Camera and Electrical Department
Marie Deshayes .... second assistant camera
Emile Dubuisson .... assistant camera
Jean-Christophe Frendo .... electrician
Camille Malissen .... still photographer
Edouard Omnès .... key grip
Rachid Rebouli .... electrician
Julien Rohel .... grip
Colin Wandersman .... gaffer
Costume and Wardrobe Department
Naima Lagrange .... costumer
Editorial Department
Idit Bloch .... assistant editor
Thomas Coulombeix .... assistant editor
Marcel Mazoyer .... color timer
Nora Sèches .... color timer
Patrick Thauvin .... negative cutter
Other crew
Léo Campagne .... production secretary
Thierry Louis De Canonville .... production administrator
Arnaud Morin .... production accountant
Krystel Rende .... script supervisor

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Bord de mer" - France (original title)
See more »
90 min
Sound Mix:
France:U | Hong Kong:IIB | Singapore:PG | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | USA:Not Rated

Did You Know?

Movie Connections:
References Jaws (1975)See more »
Da bitchSee more »


This FAQ is empty. Add the first question.
"People come, people go, noting ever happens", 9 March 2015
Author: Chris Knipp from Berkeley, California

I just watched Lopes-Curval's new 2014 film High Society/Le beau monde as part of Film Comment Selects at Lincoln Center and this led me to go back and re-watch her 12-years-earlier Seaside/Bord de mer (2002), twice; it is available streaming on Netflix. The two films have this common interest in class, a provincial place someone chooses to leave, and couples splitting up, but they are completely different. I think I like this one, her first feature, winner of the Caméra d'Or at Cannes, better than the new one; it seems more original and shows a keener eye.

As viewers have noted this film seems to be about nothing, but in fact is finely observed, with many subtle little moments in the life of this minor resort town with its pebble factory. As Lopes-Curval's new film, High Society/Le beau monde (2014) also shows, she's interested in class, and how a woman may move up and couples may split up along the way. At the outset Paul (Jonathan Zaccaï) and the pretty Marie (Hélène Fillières) are together but Marie is bored with sorting pebbles and with Paul. Rose (Bulle Ogier), Marie's mother, retired from the factory, is a compulsive gambler at the local casino pouring all she has into slot machines. Rose avoids Odette (Liliane Rovère), whom she resents for marrying into the factory owner family (but the factory was failing and Odette's husband sold it). Odette's ineffectual son Albert (Patrick Lizana) works in management at the factory but without motivation or ability. He is married but is attracted to Marie. In the course of the year (the film divided up into seasons from "Été" to Été") these relationships between Marie and Paul, Albert and Marie, Rose and Odette, will shift. We also follow people who come only in the summer; one is a fashion photographer who grew up here but has never thought of using the pebble beach as a background for a shoot till now: people are expected to go far to achieve in his field. Lopes- Curval flats around the little seaside town like Jacques Tati in Jour de Fête, but focusing on feelings and lives not physical comedy. This is the portrait of a place and a little society. It doesn't seek to go into depths about any individuals. But there are crises -- Rose's gambling; Marie's desperation. The film ends comically with a unifying event: a shark alert, like in Jaws, Lopes-Curvas thus wryly pointing to how completely her film eschews overt drama in favor of delicate portraiture that is too low-keyed even for many French tastes. Yet perhaps just for that reason this is a film that continues to yield up its charms on repeated viewings, its lack of any big events making all the little moments of heightened value.

There is a warm an detailed appreciation by Michael Atkinson from the Village Voice when the film, following a Rendez-Vous with French Cinema showing, had a New York theatrical release in 2003. He concludes:

"Scores of other characters come and go—including a fashion photographer, his blissfully dim girlfriend, and his lovely, increasingly anxious mother (Ludmila Mikaël)— but we see them only in random cross sections. The changing of the seasons leaves some of the town's inhabitants gone, some pregnant, some resolved to shoulder their burdens; we are not necessarily privy to the changes or how they came about. We do get subtle gestures and evaporating moments: a mother looking with fondness and worry after her son, a tug on an uncomfortable dress, a cocktail drained too quickly, a decision to hold one's tongue visualized as an eyebrow flex.

"It's a gently sensible strategy that dares to suggest, as Renoir, Ozu, Rohmer, and Kiarostami films do, that you can only know so much about other people by watching them, and that our small 'knowing' says as much about us as it does about the subjects of our attention. Certainly, Hollywood films encourage us to enjoy an absurd God-like omniscience; all relevant thoughts, incidents, and connections are made plain as day. In her first feature, Lopes-Curval lets the human mysteries play out invisibly, and even the actors are forced to economize in short scenes of little dramatic import. A stare held a split second too long or an evaded gaze can mean the world."

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