IMDb > My Life on Ice (2002)
Ma vraie vie à Rouen
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My Life on Ice (2002) More at IMDbPro »Ma vraie vie à Rouen (original title)

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Overview

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6.6/10   673 votes »
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Popularity: ?
Down 16% in popularity this week. See why on IMDbPro.
Directors:
Olivier Ducastel (co-director)
Jacques Martineau (co-director)
Writers:
Olivier Ducastel (written by) &
Jacques Martineau (written by)
Contact:
View company contact information for My Life on Ice on IMDbPro.
Release Date:
26 February 2003 (France) See more »
Genre:
Plot:
My Life on Ice presents the unique point of view of 16-year-old Etienne, a cute would-be ice skating... See more » | Add synopsis »
Plot Keywords:
Awards:
1 win & 1 nomination See more »
User Reviews:
Beauty and Intimacy: The Means Can Be An End In Itself See more (13 total) »

Cast

  (in credits order) (complete, awaiting verification)

Ariane Ascaride ... Caroline
Jimmy Tavares ... Étienne (et pour la première fois à l'écran)

Jonathan Zaccaï ... Laurent

Hélène Surgère ... La grand-mère
Lucas Bonnifait ... Ludovic
Frédéric Gorny ... L'homme de la falaise
Nicolas Pontois ... Le copain patineur
Frédéric Sendon ... Le client de la librairie
Marcelle Lamy ... Madame Langrune
Frédéric Voldman ... L'entraîneur
Aliette Langolff-Colas ... La jeune femme de la fête foraine (as Aliette Colas)
Hanako Bron ... Vanessa
Camille Dumalanède ... Élise
Faïza Tabti ... La jeune fille brune sur le banc
Carole Wiart ... La jeune fille blonde sur le banc
Arnaud Boquier ... Le vendeur de la boutique vidéo
Magali Hervieu ... La copine d'été de Ludo

Directed by
Olivier Ducastel (co-director)
Jacques Martineau (co-director)
 
Writing credits
Olivier Ducastel (written by) &
Jacques Martineau (written by)

Produced by
Nicolas Blanc .... producer
 
Original Music by
Philippe Miller 
 
Cinematography by
Pierre Milon 
Matthieu Poirot-Delpech 
 
Film Editing by
Sabine Mamou 
 
Casting by
Antoine Carrard 
 
Production Design by
Juliette Chanaud 
 
Costume Design by
Juliette Chanaud 
 
Makeup Department
Mayté Alonso .... key makeup artist
Laurent Blanchard .... key hair stylist
 
Production Management
Sylvie Demaizière .... production manager
Philippe Hagège .... production manager
Sandrine Rouquié .... unit manager
 
Second Unit Director or Assistant Director
Frédéric Biamonti .... assistant director
Arnaud Boquier .... assistant director
 
Sound Department
Eric Boisteau .... sound: Christmas scene
Thomas Bouric .... boom operator
Laurent Charbonnier .... boom operator
Jacques Descomps .... sound recording mixer
Olivier Do Huu .... sound recordist (as Olivier Dô Hùu)
Michel Filippi .... post-synchronisation (as Michel Fillipi)
Christophe Gagnot .... post-production sound
Jean-Pierre Laforce .... sound mixer
Pascal Mazière .... foley artist
Régis Muller .... sound editor
Régis Muller .... sound
 
Camera and Electrical Department
Frédéric Biamonti .... still photographer
 
Editorial Department
Jérôme Kail .... assistant editor (as Jérome Kaïl)
 
Other crew
Marie-Christine Damiens .... public relations
Sandrine Rouquié .... production assistant
 

Production CompaniesDistributors

Additional Details

Also Known As:
"Ma vraie vie à Rouen" - France (original title)
"The True Story of My Life in Rouen" - Europe (English title) (festival title), International (English title) (alternative title)
See more »
Runtime:
102 min
Country:
Language:
Color:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Filming Locations:

FAQ

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11 out of 14 people found the following review useful.
Beauty and Intimacy: The Means Can Be An End In Itself, 12 July 2003
Author: thomasdosborneii from United States

I'm not normally one to care so much about film technique or movie technology, the story or the characters are what usually drive my interest. However, this is the third film I have seen that was filmed using Digital Video (the other two were Barbet Schroeder's "Our Lady of the Assassins" and "Manic", both of which I have also reviewed here on IMDb) and I have come to realize that I like this style of movie-making very, very much. I might go so far as to say that the means may actually be the ends, although all these films have also given so much more than just an appealing technique. But to just simply feel that much closer and more intimate with beautiful and appealing people, regardless of their problems or whatever they are going through, is a pleasure just by itself.

This film really could have been a video journal of a teenage ice skater, one who was, at least, quite skilled with the camera, and, in fact, throughout the film, I simply believed that such a video journal is what it actually was. Living in Los Angeles like I do where so many are would-be filmmakers, and at a time when so many kids have video cameras and are so often putting them in your face or surreptitiously filming you (and themselves), it would not be far-fetched that an ice skater as disciplined and talented as the actor in the film (genuinely a second-place holder in a French figure-skating championship) could also develop skill in this other artistic medium...as, indeed, successfully done by the skater Jimmy Tavares who also demonstrated his notable acting ability in this film.

I found the video technique fascinating as, appropriately, an intimate visual expose of the coming of age of a character in a FILM, just like a diary or personal letters would be in a BOOK. It was as if Etienne, the ice skater, wanted to objectify his life by recording his activities and those of the other people who interacted with or were of interest to him in such a way that he could then step aside and see his life from the outside.

It helped a lot that the boy, Etienne, was so beautiful, as was his whole family and the people associated with him, and his personality, as was theirs, was also so charming and humorous. It was not boring or meaningless to be with these people for a year (film time). In fact, I myself, not only want to buy my own video camera and start filming myself and all the people in my life, but I also wished all the people in my life were French! And the video camera with such great depth of field picks up so many more images in a scene that one does not normally see in a movie, and this quality added to the magnitude of the experience. For example, as Etienne would be filmed skating around in his practice arena, metro trains would go speeding by outside the arena's window with perfect clarity, adding the rhythm and beauty of their motion with that of the skater gracefully doing his swirls and spins.

But all this intimacy and beauty in the camera work does not overshadow the fact that something is supposed to be happening with these characters, and, as far as I am concerned, there was no disappointment there. There were times when Etienne's subjects rebelled against his intruding in their life with his camera, and yet in the end the only one really intruded into was Etienne himself, who got particularly nervous or upset when others used his camera, but he was at the same time quite willing to film himself when he was the one at the controls.

Inexorably, the story does move to the conclusion that must have been what had been motivating Etienne the whole time, and it was here that his good acting ability was revealed to be great. As appealing as Etienne's character had always been (despite his occasional anger or bad moods), upon achieving his self-realization, some subtle dark filter or cloud seemed to have been removed from his character and he then radiated a light that was several notches brighter than what had been expressed before. I almost would have thought that a filter had been removed from the camera lense, but this new light really was from within Jimmy Tavares, himself. And that what he came to understand about himself is nowadays understood to not necessarily be all that unusual or spectacular, for him, alone, of course, it certainly would matter very much and since we had been so close to him throughout the movie, it mattered to us, too.

I could have watched so much more, but in this movie, the climax was also the denouement--as sudden as a camera can stop, or, more importantly, START (controlled with a simple pressing of a button on a remote control), so, too, are there sudden stops and starts in the life of the character effected, where what was before has now been severely EDITED, and the personal DEPTH OF FIELD is now so much greater.

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