IMDb > Wild Side (2004)
Wild Side
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Wild Side (2004) More at IMDbPro »

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Overview

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6.5/10   791 votes »
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Release Date:
14 April 2004 (France) See more »
Genre:
Plot:
A transsexual who survives prostituting herself in Paris, returns - with her two male lovers in tow - to her family home in the countryside to look after her dying mother. Full summary » | Add synopsis »
Awards:
6 wins & 1 nomination See more »
User Reviews:
Moving and transforming - a beautiful use of opposites and differences See more (15 total) »

Cast

  (in credits order)

Stéphanie Michelini ... Stéphanie
Yasmine Belmadi ... Djamel
Edouard Nikitine ... Mikhail
Josiane Stoléru ... La mère
Corentin Carinos ... Le petit Pierre
Perrine Stevenard ... Caroline
Benoît Verhaert ... Le père de Pierre
Fabrice Rodriguez ... Le client de la boîte
Amine Adjina ... Le frère de Djamel
Christophe Sermet ... Nicolas
Loïc Pichon ... Le paysan
Veronika Pereverzeva ... La mère de Mikhail
Antony Hegarty ... Le chanteur du café
Gilles Forgeas ... Premier client du bois
Pierre Nahori ... Second client du bois
Ozgur Tosunoglu ... Troisième client du bois
Réjane Kerdaffrec ... La femme de la gare
Pierre-Arnaud Jolard ... Le client de la gare
Hugo Sablic ... L'asolescent de la gare
Giovanna ... Fille de la pétanque
Stella ... Fille de la pétanque
Mimouna Hedayati ... La mère de Djamel
Olga Abrego ... La matrone du squat
Tolsty ... Le tenancier du squat
Vladislas Laskevich ... Piotr
Sacha Yatchin ... Ovguéni
rest of cast listed alphabetically:
Fatima Adoum ... Mona
Florence Belame ... Une prostituée

Paris Benjamin ... Une prostituée
Emylou Brunet ... L'enfant de Nicolas
Didier De Neck ... Le médecin
Yann Delayaye ... L'ouvrier
Lucas Di Girolamo ... L'enfant du train
Luigi Di Girolamo ... L'homme du train
Angelique Ducrocq ... Le chauffeur du taxi
Aurélie Gibert ... La voleuse des puces
Jean-Marie Groux ... L'ambulancier
Aurélie Guichard ... La bonne soeur
Jean-Claude Joerger ... Le voyeur du bois
Ludovic Leplat ... L'ambulancier
Liliane Nataf ... L'infirmière
Michel Olivès ... Le voisin
Christophe Provost ... L'enfant de Nicolas
Valery Ribakov ... Un russe du squat
Bernadette Seinvin ... La voisine
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Directed by
Sébastien Lifshitz 
 
Writing credits
(in alphabetical order)
Stéphane Bouquet 
Sébastien Lifshitz 

Produced by
Chris Curling .... co-producer
Phil Robertson .... production executive producer
Gilles Sandoz .... producer
Christian Tison .... executive producer
Eric van Beuren .... co-producer
 
Original Music by
Jocelyn Pook 
 
Cinematography by
Agnès Godard 
 
Film Editing by
Stéphanie Mahet 
 
Casting by
Omri Ben Canaan 
 
Production Design by
Véronique Melery 
Roseanna Sacco  (as Roseanna Sacco-Colas)
 
Costume Design by
Elisabeth Mehu 
 
Makeup Department
Anne Moralis .... makeup department head (hair department head)
 
Production Management
Benoît Baverel .... assistant unit manager
Olivier Guerbois .... production manager
Geoffroy Hassoun .... unit manager
Gaëtane Josse .... unit production manager
 
Second Unit Director or Assistant Director
Florence Gatineau-Saillant .... trainee assistant director
Julien Selleron .... second assistant director
Philippe Thiollier .... first assistant director
 
Art Department
Emilie Ferrenq .... painter
 
Sound Department
Thaddée Bertrand .... dialogue editor
Yolande Decarsin .... sound
Cyril Holtz .... sound re-recording mixer
 
Camera and Electrical Department
Tom Oversteijns .... key grip
Antoine Struyf .... second assistant camera
 
Editorial Department
Thaddée Bertrand .... assistant editor
Jason Wheeler .... negative cutter
 
Music Department
Steve Parr .... music mixer
Steve Parr .... music recordist
 
Other crew
Christophe Besnard .... assistant to producer
Tatiana Bouchain .... assistant to producer
Sophie Onteniente .... production assistant
Karen Waks .... script supervisor
Mickey Cottrell .... publicist (uncredited)
 

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Additional Details

Also Known As:
Runtime:
France:93 min | USA:93 min | Belgium:110 min
Country:
Language:
Color:
Aspect Ratio:
2.35 : 1 See more »
Certification:
Filming Locations:

FAQ

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33 out of 36 people found the following review useful.
Moving and transforming - a beautiful use of opposites and differences, 17 April 2005
Author: Chris_Docker from United Kingdom

Confronting and acknowledging other sexualities often stems either from an intimate awareness of other orientations on one hand, or a determined political correctness on the other. Wild side, a film of haunting images and an unusual love triangle, opts for the former.

As the film opens, the camera pans slowly over a naked body of someone asleep. The gaze is quite sensual, but the figure fairly androgynous. The curve of a bosom appears, reassuringly female, and then we see the penis of the sleeping form a few moments later. Cut to a Parisienne bar where an audience of transsexuals listen enraptured to the almost operatic quality of a singer lamenting a dead lover ("I Fell in Love with a Dead Boy"), the song ending with the question, "Was he a boy or a girl?" Wild side proceeds to alternate between scenes of exquisite beauty, such as a figure running through a lush field - to scenes of tawdry sexuality, like a quick blow-job in a red light area. We meet Stephanie, a transsexual who has been reduced to turning tricks as a prostitute. The flashbacks show her as a young boy, Pierre. As the story develops, we see her leaving Paris to care for her terminally ill mother, together with her new Russian boyfriend Mikhail. They are soon joined by her friend Djamel, a bisexual male who has also been working as a prostitute in Paris.

Wild side is beautifully photographed. The French countryside and imaginative camera angles are complemented by excellent and typically unpretentious French acting which draws a clear distinction between the intimacy of lovers and the functionality of the paid sex, even when conducted with as much courtesy as the situation (and clients) allows. But it is the focus on the ordinary, gentle emotions of Stephanie and her two companions, whether to each other or their family, that helps the audience put Stephanie's trans sexuality into perspective and this is one of the not inconsiderable achievements of the film. We see her primarily as a person and, most importantly, as a woman. There is never anywhere the feeling that 'she' is really 'he' - and it is no effort of political correctness, simply a fact. Stephanie is a woman, emotionally to her mother (who has to come to terms with the change), and also in sharp contrast to the two men (Mikhail and Djamel) in her life. She is a woman who used to be a boy and she still has a penis (which she uses sometimes). Perhaps the recognition of Stephanie being 'she' is nowhere more forcefully apparent than in a fairly crude scene where a voyeur, paying Stephanie to perform sex with Mikhail, tells Mikhail to "f*ck *her*" and then to "jack her off" while he's doing so.

Ultimately, we realise the world of tenderness between Stephanie and her mother, and between her and her lovers, is one that a casual view of her persona would have missed. We are easily obsessed by someone's sexuality when it is not the same as our own - and to the extent that it is hard to see beyond it. In the early days of homophobic social interaction, gay people are simply seen by heterosexuals as people who have sex with persons of the same gender - that image is forefront, even though the same heterosexuals would never dream of continually thinking when meeting a new straight acquaintance, "this is a person who has sex with people of the opposite gender"! With Stephanie, the outward film-flam is two-fold - firstly she is transsexual, and that is difficult to see past for anyone who has never got to know a transsexual as a friend, as another human being. Secondly, she works (or has spent time working) as a prostitute - something we would normally see tattooed on someone's forehead immediately that fact was known. Both these things have affected her life, but they are not the most central thing to her character. They are her 'wild side' perhaps, but one which - at least to her mother, for instance, is of little consequence.

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