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Release Date:
19 April 2006 (France) See more »
After 10 years and two children together, Philippe and Marion, finally decide to take a honeymoon Holiday in Venice... See more » | Add synopsis »
Pamela Leu launches Be for Films
 (From ScreenDaily. 30 April 2014, 5:18 AM, PDT)

User Reviews:
Only for those who like a challenge See more (4 total) »


  (in credits order)

Laurent Lucas ... Philippe
Hélène Fillières ... Marion

Anouk Aimée ... Nelly

Julie Gayet ... Sophie
Husky Kihal ... François
Anthony Roth Costanzo ... Simon
Charlotte Clamens ... Catherine
Sabine Haudepin ... Mme Fargeon
Melchior Nolte ... Paul
Romain Alonso ... Romain
Inès Alonso ... Fille Sophie
Thibaut Nolte ... Marc

Erwan Marinopoulos ... Vendeur photo BHV
Evelyne Istria ... Mère Marion
Yves Barnouin ... Père Philippe
Jamil Dehlavi ... Homme oriental
Alek Barkats ... Jeune homme walkman
Isabelle Vellay ... Agent immobilier
Jérôme Beaujour ... Médecin
Nicolas Welfling ... Pharmacien
Marie-Josée Gonçalves ... Marie-Josée
Mireille Roussel ... Baby-sitter
Agathe Teyssier ... Vendeuse BHV 1
Alexandra Charles ... Vendeuse BHV 2
Jean-Paul Dubois ... Gardien foyer
Angelin Preljocaj ... Angelin Preljocaj
Aurore Martial ... Sahdia
Catherine Corsini ... Réalisatrice doublage
Frederick Malahieude ... Steve (soap-opera) (as Frédéric Malahieude)
Giedre Barauska ... Kelly (soap-opera)
Claudine Barjol ... Concierge
Julie Nattougui ... Serveuse enceinte
Isabelle Nyssen ... Libraire
Claudine Lasserre ... Boulangère
Caroline de Ricqlès ... Cliente librairie
Abdelkrim Bahloul ... Ouvrier arabe
Valérie Talamon ... Cliente BHV
Florence Alonso-Martin ... Cliente BHV
Dominique Fischbach ... Agent immobilier
Joël Leyendecker ... Journaliste TV 1
Myriam N'Guenor ... Journaliste TV 2
Renaud Epelboin ... Banquier (as Reno Epelboin)
Samer Rahal ... Chauffeur taxi
Abou Amar ... Chef du village
Ahmad Moujarkech ... Homme gare routière

Directed by
Brice Cauvin 
Writing credits
(in alphabetical order)
Jérôme Beaujour 
Brice Cauvin 
Pierre Schoeller 

Produced by
Marc Irmer .... producer
Original Music by
Philippe Miller 
Cinematography by
Marc Tevanian 
Film Editing by
Agathe Cauvin 
Casting by
Brigitte Moidon 
Frédéric Zajderman  (as Frédéric Sajderman)
Production Design by
Philippe van Herwijnen 
Costume Design by
Eléonore Dominguez 
Makeup Department
Vanessa Guérand .... makeup artist
Isabelle Nyssen .... key makeup artist
Production Management
Emmanuel de Montalivet .... assistant production manager
Jeanne Granveaud .... unit production manager
Jean-Paul Guyon .... production manager
Samuel Poulain .... unit manager
Guillaume Viard .... unit manager
Second Unit Director or Assistant Director
Renaud Epelboin .... second assistant director
Sébastien Gardet .... first assistant director
Joël Petitjean .... trainee assistant director
Art Department
Sophie Chandoutis .... painter
Sidonie Lipka .... property master
Pascaline Pitiot .... assistant art director
Sound Department
Séverin Engler .... boom operator
Mathieu Fichet .... assistant sound mixer
Eric Grattepain .... foley artist
Loïc Prian .... sound editor
Pierre Tucat .... sound
Benjamin Viau .... sound mixer
Visual Effects by
Pierre Hotte .... digital colorist
Camera and Electrical Department
Carole Bethuel .... still photographer
Sophie Bosquet .... assistant camera
Franck Bottero .... electrician
Antoine Bour .... gaffer
Samuel Breton .... electrician
Hélène de Fontainieu .... still photographer
Olivier Hermant .... key grip
Eléonore Huisse .... assistant camera
Nicolas Labrousse .... electrician
Aurélien Pallier-Colinot .... still photographer (as Aurelien Pallier)
Camille Relier .... grip
Louis Vincent .... still photographer
Costume and Wardrobe Department
Mathilde Fontaine .... costumer
Editorial Department
Sylvain Dodane .... assistant editor
Mathilde Fleury .... assistant editor
Sylvain Lamour .... conforming editor
Location Management
Denis Kralj .... location scout
Other crew
Nathalie Djian .... administrator
Bénédicte Kermadec .... script supervisor
Michel Pages .... coach: children
Christophe Thomas .... catering head chef

Production CompaniesDistributors

Additional Details

Also Known As:
France:95 min


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7 out of 10 people found the following review useful.
Only for those who like a challenge, 24 August 2006
Author: Chris_Docker from United Kingdom

Not a film I can recommend unless you appreciate a challenge, Hotel Habarati is one I found irritating, then hated, then two days later felt a grudging respect for, and eventually came to like for its innovativeness, boldness and the fact that I couldn't easily get it out of my head.

It begins in the waiting room of a railway station. There's a bag, apparently left by mistake - although we are of course aware of terrorist threats with unaccompanied baggage. Should you take it to the lost property or catch the person on the train - or just keep it? When Marion opens the bag at home it turns out to contain money in a none too familiar Middle Eastern currency. She and her husband Philippe had planned to take a holiday in Venice together, away from the children. In the end they didn't go, but tell people they have, making it a private joke between them. The bag appears to have an address tag on it with the words Hotel Habarati (only with the first two letters scuffed out). News comes of a bomb that has been found.

Hotel Harabati starts with some irritating music and seemingly throw away dialogue. The contradictions start to grow and both of the main characters, separately, wonder if they are losing it. The ending, when it comes, totally upsets everything that has gone before. It's a bit like Mulholland Drive where, the first time you see it, you look about you in astonishment wondering whether it's the same movie - only after deep reflection, or maybe multiple viewings, can the linear storyline be constructed.

Unlike Mulholland Drive, there is no set of clues that eventually signify dream sequences or other ways of making sense of the sudden disconnectedness. The ending has a beauty and serenity that require the viewer to re-examine everything that has gone before and either find many explanations for the events (like the unexpected photos of Venice that appear among family shots when Marion gets her film back from the developers) and the individual psyches of the two main characters. Deliberate contrasts tempt you to question the emotional involvements one way or the opposite way, or even (a possible way out) look at the main part of the film as a purely surreal representation of what Marion and Philippe were going through - but if that is the case, then the inconsistencies could perhaps be explained away factually.

While Hotel Harabati (De particulier à particulier) invites repeat viewings, I doubt that director Brice Cauvin has provided anything as simple as corner-of-the-screen explanatory clues the way Micahel Haneke did in Hidden (Caché). More probably it has to be grappled with as a work of art that does not necessarily follow normal rules of storytelling. This may leave it open to allegations of pretentiousness, but there is no denying its fascinating appeal.

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