The life of Octave Parango, a flamboyant ad designer, filled with success, satire, misery and love.

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(screenplay) (as Nicolas), (screenplay) (as Bruno) | 2 more credits »
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2 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
...
Charles 'Charlie' Dagout
Patrick Mille ...
Jean-François 'Jeff' Marolles
...
Sophie
Elisa Tovati ...
Tamara
Nicolas Marié ...
Alfred Duler
Dominique Bettenfeld ...
Jean-Christian Gagnant
Antoine Basler ...
Marc Maronnier
Fosco Perinti ...
Giovanni Di Toro
Cendrine Orcier ...
Fabienne
Dan Herzberg ...
Steven
Arsène Mosca ...
Le dealer
Niels Dubost ...
Père Groobad
Aurélie Boquien ...
Mère Groobad
Mathis Jamet ...
Enfant Groobad
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Storyline

The life of Octave Parango, a flamboyant ad designer, filled with success, satire, misery and love.

Plot Summary | Add Synopsis

Taglines:

I'm the most influential bastard in 2000 years.

Genres:

Comedy | Drama

Certificate:

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Details

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Language:

Release Date:

26 September 2007 (France)  »

Also Known As:

13,99 euros  »

Filming Locations:

 »

Company Credits

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Technical Specs

Runtime:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Based on a novel with the same title by Frédéric Beigbeder. See more »

Goofs

When Octave's version of the Starlight commercial is shown on television for the first time, the blob of yogurt on his eyebrow disappears and reappears between takes. See more »

Quotes

Octave Parango: Everything is bought. Love, Art, planet earth, you me. Especially me. The man is a product like any other, with a limit sell by date. I am advertising, I am one of those that make you dream the things you will ever have. Blue skies, never ugly chicks, perfect happiness and retouched in Photoshop. You think I embellished the world? lost, I screw it up. Everything is temporary. Love, Art, planet Earth, you, me. Especially me
See more »

Connections

References Dangerous Woman (2000) See more »

Soundtracks

Yumeji's Theme
from the film Faa yeung nin wa (2000)
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User Reviews

 
Pydjhaman rules the world !
27 October 2007 | by (Paris, France) – See all my reviews

The first question that comes to mind when you ear about this project is : what the hell is Jan Kounen doing as a director of such a movie ? Jan Kounen was a french talented and trendy director of the 90's, just as his friend Matthieu Kassovitz. He released "Doberman" when Kasso brought "La Haine" on french screens. But after this violent/cartoon movie, Jan Kounen had discovered Shamanism while directing his experimental trip out of (the blues) "Blueberry" and then made a documentary about inner journey and other substantial trips. "99 Francs", on the other hand is an auto-fiction by the french intellectual bobo Beigbeider, that narrates his experience as a publicist in a satirical and fashionable style. So, my question was : what's the link between this director and this book and what the hell is Jan Kounen doing as a director of such a movie ?

First, from a factual point of view, Kounen and the main and incredibly credible actor of the movie, Jean Dujardin, have them-self been publicists, and decided to take the book as a starting point, and to go on completely different directions. Beigbeder, who appears several times in the movie, agreed to this betrayal. But this critic of the advertising world isn't the best part of the movie, and only seems to be a support for more experimental journey that only drugs can give.

The character of the movie inhales himself several time a gargantuesque quantity of cocaine, unknown pills and other drugs, that makes him have gigantic visions that the movie emphases. A large parts of the movie is just a description of absurd visions, that links the cartoon and trash violence of "Doberman" with the experimental form of "Bluebberry" in the funny and cool package of a critic of advertising and a large public comedy. The best part of "99 Francs" is to me an improbable escape to the tropical forest of "Bluebberry", with Jan 'Pydjhaman' Kounen like guide. If Yan Kounen defines is movie as the "Yogourt Fight Club", the film is also near from Gilliam's more experimental and crazy works.


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