| Melvil Poupaud | ... | Romain | |
| Jeanne Moreau | ... | Laura | |
| Valeria Bruni Tedeschi | ... | Jany (as Valeria Bruni-Tedeschi) | |
| Daniel Duval | ... | Le père | |
| Marie Rivière | ... | La mère | |
| Christian Sengewald | ... | Sasha | |
| Louise-Anne Hippeau | ... | Sophie | |
| Henri de Lorme | ... | Le médecin | |
| Walter Pagano | ... | Bruno | |
| Violetta Sanchez | ... | L'agent | |
| Ugo Soussan Trabelsi | ... | Romain enfant | |
| Alba Gaïa Kraghede Bellugi | ... | Sophie enfant (as Alba Gaïa Kradhege Bellugi) | |
| Victor Poulouin | ... | Laurent | |
| Laurence Ragon | ... | La notaire | |
| Thomas Gizolme | ... | L'assistant photographe | |
| Estelle Dupuis | ... | La styliste | |
| Hisano Komine | ... | La maquilleuse | |
| Stéphane Forlay | ... | Le coiffeur | |
| Amanda Ericsson | ... | Mannequin 1 | |
| Anna Sherbinina | ... | Mannequin 2 (as Anna Sherbimima) | |
| Yvette Maillard | ... | La femme du bénitier | |
| Jemmy Walker | ... | La femme qui prie | |
| Rebecca Convenant | ... | La femme du train (as Rébecca Convenant) | |
| Noan Labrousse | ... | Le bébé du train | |
| Noé Chadaigne | ... | le bébé de Sophie | |
| Didier Mérigou | ... | Le dealer | |
| Tobias Brahmst | ... | Le jeune homme backroom | |
| Patrick Perrier | ... | L'homme backroom | |
| David Cornillet | ... | Le glacier | |
| rest of cast listed alphabetically: | |||
| Vincent Bowen | ... | (uncredited) | |
Directed by | |||
| François Ozon | |||
Writing credits(in alphabetical order) | ||
| François Ozon | ||
Produced by | |||
| Olivier Delbosc | .... | producer | |
| Marc Missonnier | .... | producer | |
Cinematography by | |||
| Jeanne Lapoirie | |||
Film Editing by | |||
| Monica Coleman | |||
Casting by | |||
| Antoinette Boulat | (as Antoinette Boulat ARDA) | ||
Production Design by | |||
| Katia Wyszkop | |||
Costume Design by | |||
| Pascaline Chavanne | |||
Makeup Department | |||
| Franck-Pascal Alquinet | .... | key hair stylist | |
| Maud Baron | .... | makeup artist | |
| Corinne Maillard | .... | key makeup artist | |
Production Management | |||
| Didier Carrel | .... | unit production manager | |
| Christine De Jekel | .... | production manager | |
| David Le Gall | .... | assistant unit manager | |
| Julie Léger | .... | post-production manager | |
Second Unit Director or Assistant Director | |||
| Romain Kunstlinger | .... | trainee assistant director | |
| Véronique Labrid | .... | first assistant director | |
| Gauthier Ravily | .... | location unit director | |
| Christophe Ronchet | .... | second assistant director | |
Art Department | |||
| Paco Cuevas | .... | ripper | |
| Vincent Delaine | .... | ripper | |
| Jules Delière | .... | carpenter | |
| Olivier Delpy | .... | carpenter | |
| Benjamin Descave | .... | carpenter | |
| Frédéric Dor | .... | carpenter | |
| Nicolas Doyon | .... | construction manager | |
| Benoît Dupuis | .... | painter | |
| Tristan Girault | .... | property master | |
| Alexandra Lassen | .... | assistant art director | |
| Norbert Luchessi | .... | head carpenter | |
| Vincent Maroutian | .... | painter | |
| Etienne Mercier | .... | set decorator trainee | |
| Jean-Baptiste Michel | .... | ripper | |
| Frédérique Nouailhat | .... | set dresser | |
| Frédéric Pesquer | .... | tapestry | |
| Marie Rossignol | .... | head painter | |
| Didier Tardivel | .... | painter | |
| Pierre Tejero | .... | carpenter | |
Sound Department | |||
| Nicolas Becker | .... | foley artist | |
| Yannick Boulot | .... | sound recordist | |
| Nicolas Bourgeois | .... | additional sound editor | |
| Edouard d'Heucqueville | .... | sound recordist | |
| Aymeric Devoldère | .... | supervising sound editor | |
| Assia Dnednia | .... | assistant foley artist (as Assia Zipper) | |
| Dominique Eyraud | .... | boom operator | |
| Eric Ferret | .... | sound recordist | |
| Jean-Pierre Laforce | .... | sound | |
| Gwennolé Le Borgne | .... | sound editor | |
| Jean-Louis Lebras | .... | boom operator (as Jean-Louis Le Bras) | |
| Francis Perrard | .... | sound consultant: Dolby (as Francis Perréard) | |
| Hervé Roux | .... | sound consultant: DTS | |
| Brigitte Taillandier | .... | sound | |
Visual Effects by | |||
| Alain Carsoux | .... | visual effects | |
| Séverine De Wever | .... | visual effects coordinator | |
| Karine Marchandou | .... | visual effects | |
| Edouard Valton | .... | visual effects | |
Camera and Electrical Department | |||
| Pierre Bonnet | .... | gaffer | |
| Julien Cottret | .... | additional grip | |
| Mathieu Giombini | .... | second assistant camera | |
| Damien Jousselin | .... | electrician | |
| Malek Krimed | .... | assistant camera | |
| Vincent Le Borgne | .... | electrician | |
| Farès Messaoud | .... | additional second assistant camera | |
| Christian Metz | .... | grip | |
| Jean-Claude Moireau | .... | still photographer | |
| Eric Monin | .... | electrician | |
| Mathieu Poudevigne | .... | electrician | |
| Mathias Raaflaub | .... | camera operator | |
| Carlos Ribeiro | .... | grip | |
| Benoît Rizzoti | .... | first assistant camera (as Benoît Rizzotti) | |
| Hervé Rousset | .... | key grip | |
Casting Department | |||
| Dorothée Auboiron | .... | assistant extras casting | |
| Audrey Gatimel | .... | extras casting | |
| Isabelle Ungaro | .... | casting: children | |
| Marine Valot | .... | trainee extras casting | |
Costume and Wardrobe Department | |||
| Julie Marteau | .... | costumer | |
Editorial Department | |||
| Frédéric Barbe | .... | assistant editor | |
| Christian Dutac | .... | color timer | |
Music Department | |||
| Edouard Dubois | .... | music consultant | |
| Philippe Escanecrabe | .... | music mixer | |
| Pascal Vonhatten | .... | music recordist | |
Transportation Department | |||
| Marine Valot | .... | driver | |
Other crew | |||
| Tony Arnoux | .... | press attache | |
| Thierry Chapat | .... | administrator | |
| Sébastien Danos | .... | location manager | |
| Marylène Dastugue | .... | production secretary | |
| Caroline Dieusaert | .... | production secretary | |
| Patrick Gastambide | .... | animal trainer | |
| Agathe Grau | .... | script supervisor | |
| Amélia Guyader | .... | marketing manager | |
| Abdellatif Meziane | .... | group man | |
| Jean-Marc Minéo | .... | trainer: Melvil Poupaud | |
| Stéphane Monjo | .... | location manager | |
| Arnaud Plé | .... | administrator | |
| André-Paul Ricci | .... | press attache | |
| Daisy Sadler | .... | production assistant | |
| Esther Sironneau | .... | coach: children | |
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| Kings & Queen | Undertow | Enter the Void | Biutiful | Creation |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
Francois Ozon is one of my favourite French directors. His artistic renditions of the human drama contribute significantly to what makes French films so worth seeing. This is his second instalment of a trilogy about death that started with the emotionally enthralling, understated Under The Sand.
Previously he has covered different genres like comedy (8 Women) and thriller (Swimming Pool). While these films have found a wider audience, I find the dramatically subdued exploration of grief and mortality in Under The Sand and A Time To Leave much more interesting and satisfying.
In A Time To Leave, Romain finds his own way to deal with imminent death. Unlike most of his previous films, Ozon uses a male protagonist. He appears to be selfish and egocentric not overly likable. Perhaps like an essay on the human condition, it is revealing to observe how he interacts with people and attempts closure on his 'final journey'.
The film has a bit of a wandering Zen feel about it. There is no sentimentality and Romain does not burden anyone. It appears that he wants to tidy up loose ends before his passing in an attempt to find peace within himself.
Legendary actress Jeanne Moreau, playing the grandmother, has as strong a screen presence as ever (55 years after her debut). It is only with her that Romain seems to open up emotionally, and we get a glimpse of his warmer side. These scenes were very moving and felt like the emotional core of the film.
Like Under The Sand, A Time To Leave doesn't seem to be making any particular point. Neither are evangelical or proselytising a world view. Nor are they gratuitous, contrived or flamboyant. Each of them is like another essay about the human condition, done with great artistry. There are no grand sweeping statements just one person's story. There is such understated confidence, intelligence and skill in Ozon's direction. Highly recommended.