| Grégoire Colin | ... | Bruno Keller | |
| Julie Ordon | ... | Elise Gardet | |
| Brigitte Catillon | ... | Anne Gardet | |
| Laurent Grévill | ... | Richard Gardet | |
| Etienne Chicot | ... | L'oncle de Bruno | |
| Frédéric Pierrot | ... | David Lamblin | |
| Mathieu Amalric | ... | Le professeur d'arts plastiques | |
| Carlo Brandt | ... | Inspecteur de police | |
| Hervé Briaux | ... | Inspecteur de police | |
| Bérangère Bonvoisin | ... | Dominique Verdier | |
| Bernard Bloch | ... | Le père de Bruno | |
| Kemar | ... | Kamel | |
| Charlie Nelson | ... | Lakhdar | |
| Antoine Mathieu | ... | L'inspecteur PJ | |
| Mathilde Blache | ... | Elise enfant | |
| François Fugagnoli | ... | Bruno enfant | |
| Lucrèce La Chenardière | ... | Mère Bruno (as Lucrèce Lachenardière) | |
| Laurent Olmedo | ... | Inspecteur #1 | |
| Danièle Douet | ... | Inspecteur#2 | |
| Aline Chaud | ... | Noelle | |
| Sophie Staub | ... | Marion | |
| Nicolas Moreilhon | ... | Le secouriste | |
| rest of cast listed alphabetically: | |||
| Amandine Carmona | ... | (uncredited) | |
| Sarah Pratt | ... | (uncredited) | |
Directed by | |||
| Gilles Bourdos | |||
Writing credits | ||
| Ruth Rendell | (novel "A Sight for Sore Eyes") | |
| Michel Spinosa | (scenario) and | |
| Gilles Bourdos | (scenario) | |
Produced by | |||
| Ève Machuel | .... | producer | |
| Christophe Rossignon | .... | producer | |
Original Music by | |||
| Alexandre Desplat | |||
Cinematography by | |||
| Ping Bin Lee | (as Mark Lee) | ||
Film Editing by | |||
| Valérie Deseine | |||
Casting by | |||
| Richard Rousseau | |||
Production Design by | |||
| Benoît Barouh | |||
Costume Design by | |||
| Pierre Canitrot | |||
Makeup Department | |||
| Alexis Kinebanyan | .... | special makeup effects artist | |
| Olivier Seyfrid | .... | hair stylist | |
Production Management | |||
| Antoine Beau | .... | production manager | |
| Thibaud Garron | .... | assistant unit manager | |
| Bruno Ghariani | .... | unit manager | |
| Marianne Lambert | .... | unit production manager | |
| Philippe Rey | .... | production manager | |
Art Department | |||
| Christophe Couzon | .... | second assistant decorator | |
| Roberto DiCamillo | .... | buyer | |
| Frederic Stanley | .... | illustrator | |
| Dévi Tirouvanziam | .... | assistant art director | |
| Olivier Colat-Parros | .... | sculptor: animals (uncredited) | |
Sound Department | |||
| Valérie Deloof | .... | sound editor | |
| Marc Doisne | .... | adr engineer | |
| Marc Doisne | .... | foley engineer | |
| Marc Doisne | .... | sound re-recording mixer | |
| Eric Grattepain | .... | foley artist | |
| Cyril Holtz | .... | sound re-recording mixer | |
| Pascal Jasmes | .... | boom operator | |
| Isabelle Manquillet | .... | dialogue editor | |
| Pierre Mertens | .... | sound | |
Camera and Electrical Department | |||
| Boris Abaza | .... | additional first assistant camera | |
| David Frak-Lauer | .... | assistant camera | |
| Sofia Olstorpe | .... | assistant camera | |
| Morvan Omnes | .... | grip | |
Casting Department | |||
| Laure Cochener | .... | casting: children | |
| Samia Fadli | .... | extras casting | |
Editorial Department | |||
| Aurélie Laumont | .... | color timer | |
| Isabelle Manquillet | .... | second editor | |
Music Department | |||
| Edouard Dubois | .... | music consultant | |
Other crew | |||
| Jessica Castex | .... | essential collaboration | |
| Charlotte Corrigan | .... | production assistant | |
| Stéphane Célérier | .... | essential collaboration | |
| Marielle Duigou | .... | production assistant | |
| Thibaud Garron | .... | assistant location manager | |
| Tran Anh Hung | .... | essential collaboration | |
| Sylvie Koechlin | .... | script supervisor | |
| Vincent Maraval | .... | essential collaboration | |
| Michèle Massé | .... | location scout | |
| Carmen Portelli | .... | essential collaboration | |
| Matthieu Rubin | .... | assistant location manager | |
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| Alias Betty | The Bridesmaid | Afterwards | La cérémonie | Tell No One |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
I start with what bothers me most: it is maybe a bit too long and a bit too slow at times. Having said this, I think that director Gilles Bourdos did a very good adaptation of Ruth Rendell's crime novel, "A sight for sore eyes". Now, this is not a typical crime story/thriller, and I can understand that the plot could be confusing during the first 30 minutes to some people. But if you don't give up, you'll be rewarded. The plot, set in Southern France, is as follows: the central character, Elise (played by charming Julie Ordon), witnessed as a child her mother being shot dead by a man in her house. Her father has married afterwards Anne (Brigitte Catillon), a psychotherapist whose excessive zeal was transferred to Elise, a disturbed child in her eyes, who needs to be protected from the outside world. Enters Bruno Keller (played by chilling Grégoire Colin), a young student in modern art who grew up in an emotionally cold household, raised by an uncle who doesn't care much about him. The truth is that Bruno is a murderer who got rid of this uncle... and is to commit murder again before much more time has passed. Bruno and Elise find eventually each other, Bruno being gradually obsessed with Elise's beauty, Elise seeing Bruno as a sort of knight in shining armor, someone to rescue her from the clutches of her over-protective stepmother. Such a combination of traumatized and/or obsessive characters can only lead to disaster... Bourdos has favored a cold approach of the characters. We are never guided into one character's world, we only see things happening and their consequences. The result is a very chilling, unemotional movie, though artistically filmed. The acting is good, especially Brigitte Catillon who delivers an incredible performance as the suffocating alcoholic stepmother (you just want her to die). The cinematography is above average, and composer Alexandre Desplat has written a fine score. All this contributes to make a very unusual thriller, where psychology and atmosphere matter most. The best thing about it is that you never know how the story will eventually end (unless you've read the original novel).