| Cécile De France | ... | Tania | |
| Patrick Bruel | ... | Maxime Nathan Grinberg | |
| Ludivine Sagnier | ... | Hannah Golda Sirn Grinberg | |
| Julie Depardieu | ... | Louise | |
| Mathieu Amalric | ... | François Grimbert à 37 ans | |
| Nathalie Boutefeu | ... | Esther | |
| Yves Verhoeven | ... | Guillaume | |
| Yves Jacques | ... | Le commandant Béraud | |
| Sam Garbarski | ... | Joseph | |
| Orlando Nicoletti | ... | Simon à 7 ans | |
| Valentin Vigourt | ... | François à 7 ans | |
| Quentin Dubuis | ... | François à 14 ans | |
| Myriam Fuks | ... | La mère d'Hannah | |
| Robert Plagnol | ... | Robert | |
| Michel Israel | ... | Le père d'Hannah | |
| Eric Godon | ... | Serge Klarsfeld | |
| Justine Jouxtel | ... | Rebecca | |
| Timothée Laissard | ... | Paul | |
| Annie Savarin | ... | Mathilde | |
| Arthur Mazet | ... | L'élève chafouin | |
| Philippe Grimbert | ... | Le passeur | |
| Chantal Banlier | ... | Maria | |
| rest of cast listed alphabetically: | |||
| Bernard Fructus | |||
| Annie Grégorio | ... | (scenes deleted) | |
| Amelia Jacob | ... | Rose | |
| Lola Trofanovic | ... | La chanteuse au mariage | |
Directed by | |||
| Claude Miller | |||
Writing credits(in alphabetical order) | ||
| Philippe Grimbert | novel | |
| Claude Miller | writer | |
Produced by | |||
| Alfred Hürmer | .... | co-producer | |
| Yves Marmion | .... | producer | |
Original Music by | |||
| Zbigniew Preisner | |||
Cinematography by | |||
| Gérard de Battista | |||
Film Editing by | |||
| Véronique Lange | |||
Makeup Department | |||
| Lucía Bretones-Méndez | .... | key makeup artist | |
| Benoît Lestang | .... | special makeup effects artist | |
| Marie Luiset | .... | makeup artist | |
| Christophe Oliveira | .... | makeup artist | |
Production Management | |||
| Abraham Goldblat | .... | post-production manager | |
| Sylvestre Guarino | .... | production manager | |
| Benjamin Hess | .... | unit production manager | |
| Sandrine Rouquié | .... | assistant production manager | |
Second Unit Director or Assistant Director | |||
| Denis Bergonhe | .... | first assistant director | |
| Bonnie Pirès | .... | second assistant director | |
Art Department | |||
| Stéphanie Arnaud | .... | swing gang | |
| Thierry Poulet | .... | painter | |
Sound Department | |||
| Pascal Armant | .... | sound recordist | |
| Philippe Baudhuin | .... | sound re-recording mixer | |
| Julie Brenta | .... | dialogue editor | |
| Fred Demolder | .... | sound editor | |
Visual Effects by | |||
| Frederik Bois | .... | visual effects supervisor | |
| Cyrille Bonjean | .... | digital compositor | |
| Stephanie Broussaud | .... | Lustre assistant | |
| Nicolas Daniel | .... | data manager | |
| Thomas Duval | .... | visual effects supervisor | |
| Élodie Ichter | .... | Lustre assistant | |
| Abdel Ali Kassou | .... | technical manager | |
| Sebastien Rame | .... | digital compositor | |
Stunts | |||
| Gaëlle Cohen | .... | co-stunt coordinator | |
Camera and Electrical Department | |||
| Kamel Azzi | .... | electrician | |
| Vincent Plaidy | .... | additional focus puller | |
| Jan Rubens | .... | steadicam operator | |
| Eric Thurot | .... | generator operator | |
| Thierry Valletoux | .... | still photographer | |
Casting Department | |||
| Laurent Couraud | .... | extras casting | |
| Sandra Marthon | .... | extras casting assistant | |
Costume and Wardrobe Department | |||
| Florie Vaslin | .... | wardrobe supervisor | |
Editorial Department | |||
| Chrystel Alépée | .... | assistant editor | |
| Serge Anthony | .... | color timer (as Serge Antony) | |
| Natacha Louis | .... | digital color grader | |
Music Department | |||
| Edouard Dubois | .... | music consultant | |
Other crew | |||
| Marie-France Barrier | .... | making-of director | |
| Frederik Bois | .... | title designer | |
| Marianne Campan | .... | additional location scout | |
| Johanna Colboc | .... | assistant location manager | |
| Corinne Devaux | .... | choreographer | |
| Sandrine Rouquié | .... | production assistant | |
Thanks | |||
| Colat-Parros Olivier | .... | thanks: animal fx | |
![]() |
![]() |
![]() |
![]() |
![]() |
| Perlasca. Un eroe italiano | A Mighty Heart | Aimée & Jaguar | Tregua, La | Europa Europa |
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb France section | Add this title to MyMovies |
I was really expecting more from this adaptation of Grimbert's novel by Claude Miller. The director showed us with his last movie, "La Petite Lili" that he was able to take an important literary text (that was "The Seagull" from Tchekhov)and to transform it into an interesting cinematographic experience. But with this secret, Miller only manages to give a boring and literal (even if he takes some liberty from the book) adaptation without any relief.
If the structure of the film, all in flash-back and time traveling, gives a modern aspect to the movie, it's merely an illusion, and a useless style effect, for the movie rapidly gives this artifice away and finally adopts a linear form. The story is the one of a young boy who learns in the 50's the secret story of his family during WWII. His family was Jew and it hasn't been easy for them during the french occupation by the German. This last sentence seems ridiculous, but it's the key to the secret of the movie ! That's how much you will learn while watching it.
The movie is also lame concerning the individual story of the child that learns the story of his family. If you have the feeling this could be the real subject of the movie during the first minutes of the film, that shows a a man (Mathieu Amalric) remembering his child wood where he learns this story, the consequences of such a discovery are eluded in the movie. And the scenes with Amalric, that seems to come from another french film d'auteur, with it's Garrel Balck and white look, are completely useless. You just get to see an old maked-up Patrick Bruel and Cecile De France in a "Once upon a time in America"'s style, but all I can say is that Claude Miller isn't Sergio Leone, and that this flash-forward effect is close to ridiculous.
The narrative structure, the mise en scene, the themes, the reconstitution, and the story of the movie are so predictable, academical and uninteresting, that the spectator attention, close to fall in beautifuler dreams, is merely kept alive by the presence of two good french actress : Ludivine Sagnier and especially Cecile De France. They're the only reason to watch this movie 'till the end and they're the one ones to bring some interest to this mediocre adaptation.