IMDb > Making Plans for Lena (2009)
Non ma fille, tu n'iras pas danser
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Making Plans for Lena (2009) More at IMDbPro »Non ma fille, tu n'iras pas danser (original title)

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Making Plans for Lena -- Recently liberated from her job and husband, Lena heads home for the holidays, hoping to enjoy at least a temporary escape from all she's gone through.
Making Plans for Lena -- As soon as she gets to the Gare Montparnasse, things start to go wrong for Lena: she loses her son Anton and just misses her train. In her bag, the baby magpie that her daughter Augustine wanted to save is slowly dying. On arriving in Brittany, she discovers that her parents and sister are plotting together for her good and have summoned her ex-husband, Nigel. She feels betrayed, humiliated and disgusted. Should she leave or stay? Send everything packing? Her limited self-confidence begins to evaporate. The ghosts of duty, social judgement and family order band together to prevent her from living, loving and thinking, from simply being herself.


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Christophe Honoré (scenario) &
Geneviève Brisac (scenario)
View company contact information for Making Plans for Lena on IMDbPro.
Release Date:
20 August 2010 (USA) See more »
Ever since she broke up with Nigel, Lena soldiers on through life as best she can with her two kids... See more » | Add synopsis »
2 nominations See more »
User Reviews:
Work harder, work slower, Mister Honoré See more (5 total) »


  (in credits order)

Chiara Mastroianni ... Léna

Marina Foïs ... Frédérique
Marie-Christine Barrault ... Annie

Jean-Marc Barr ... Nigel
Fred Ulysse ... Michel

Louis Garrel ... Simon
Marcial Di Fonzo Bo ... Thibault
Alice Butaud ... Elise
Julien Honoré ... Gulven
Caroline Silhol ... La fleuriste (as Caroline Sihol)
Donatien Suner ... Anton
Lou Pasquerault ... Augustine

Jean-Baptiste Fonck ... José
Marion Wyckaert
Alexandre Varron
Kevin Le Beuvant
Catherine Birambeau ... La guide à Rome
Bernard Pellen ... Le prêtre
Christian Anneix ... Le joueur de biniou
Jean Baron ... Le joueur de bombarde
Steven Ropars ... Un prétendant de Katell
Jonathan Cloarec ... Un prétendant de Katell
Pierre-Yves Perenne ... Un prétendant de Katell
Anthony Wyckaert ... Un prétendant de Katell
Simone Pinguet ... La mère du premier prétendant
Sonia Convenant ... Frédérique enfant
Marie Convenant ... Léna enfant
Alain Raymond ... Gérard - Le patron du café
Laurent Haas ... Le médecin urgentiste

Directed by
Christophe Honoré 
Writing credits
Christophe Honoré (scenario) &
Geneviève Brisac (scenario)

Produced by
Pascal Caucheteux .... producer
Béatrice Mauduit .... executive producer
Original Music by
Alex Beaupain 
Emmanuel D'Orlando (arranger, orchestrator and co_composer with Alex Beaupain)
Cinematography by
Laurent Brunet 
Film Editing by
Chantal Hymans 
Casting by
Richard Rousseau 
Production Design by
Samuel Deshors 
Costume Design by
Pierre Canitrot 
Makeup Department
Charlotte Arguillère .... key hair stylist
Production Management
Chloé Dagonet .... assistant production manager
Edouard Decker .... assistant unit manager
Camilla Fava del Piano .... production manager: Italy
Riccardo Marchegiani .... production supervisor (segment)
Thibault Mattei .... unit production manager
Isabelle Tillou .... production manager
Second Unit Director or Assistant Director
Yann Chemin .... third assistant director
Sylvie Peyre .... first assistant director
Guillaume Plumejeau .... second assistant director
Valérie Tristan .... additional second assistant director
Art Department
Catherine Bourgeois .... set dresser
Matthieu Scavazza .... assistant art director
Romain Scavazza .... assistant art director
Nathalie Serrière .... assistant art director
Sound Department
Laurent Cercleux .... boom operator
Edouard d'Heucqueville .... sound mix technician
Valérie Deloof .... sound editor
Guillaume Le Bras .... sound
Philippe Penot .... foley artist
Deborah Stauffer .... assistant sound editor
Sybille Blouin .... stunts
Daniel Vérité .... stunts
Camera and Electrical Department
Olivier Abelé .... chief lighting technician
Sébastien Fanchault .... key grip
Mathieu Jamme .... electrician
Jean-Claude Lother .... still photographer
Emilie Monier .... assistant camera
Guillaume Quoilin .... steadicam operator
Andra Tevy .... second assistant camera
Casting Department
Julie Gouet .... casting
Agathe Hassenforder .... casting: children
Peggy Pasquerault .... casting assistant
Editorial Department
Mathilde Delacroix .... color timer
David Magalhaes .... telecine dailies colorist
Fabien Turriziani .... first assistant editor
Music Department
Loris Bernot .... pro tools technician
Peter Fuchs .... scoring mixer
Thomas Jamois .... soundtrack coordinator
Stéphane Reichart .... music mixer
Other crew
Lysiane Biagini .... location scout
Stéphane Boulay .... car preparer
Jean-Michel Bouteau .... car preparer
Jean-Jacques Domingues .... car preparer
Pierre-Axel Vuillaume-Prézeau .... production assistant

Production CompaniesDistributors

Additional Details

Also Known As:
"Non ma fille, tu n'iras pas danser" - France (original title)
See more »
105 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Movie Connections:
References Notorious (1946)See more »


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12 out of 22 people found the following review useful.
Work harder, work slower, Mister Honoré, 21 September 2009
Author: guy-bellinger ( from Montigny-lès-Metz, France

This is only the second picture by Christophe Honoré I have seen and I must say I felt as confused after watching "Non ma fille tu n'iras pas danser" as I had been three years before while I was leaving the theater showing 'Dans Paris'. In 2006, I had not really understood the deeper motives of Paul and of his brother Jonathan, the main characters of "Dans Paris". Nor do I identify now with Léna, the main protagonist of "Non ma fille, tu n'iras pas danser", with her sister Frédérique, her brother Gulven, her parents Annie and Michel. Is it me or has Honoré been unable to examine the behavior of his characters reliably enough?

What I can say after viewing these two films is that on the one hand there is obvious consistency in the choice of themes: both movies deal with an unwanted family gathering; family relationships; dysfunctional couples; the difficulty to come to terms with the real person in you; depression; the looming ghost of death. The tone in the two films is comparable as well: moody bordering on desperation with flashes of burlesque. On the other hand, the two films have the same weak points as far as the narrative is concerned. In 'Dans Paris', Romain Duris broods for hours while Louis Garrel endlessly wanders round Paris. To be fair, there is a little more to it, but just about. 'Non ma fille' has a more interesting plot: Lena, who just can't live with Nigel, her husband, any more because he cheats on her, leaves the marital home in Paris with her two children and takes refuge at her parents' house in Brittany. There, she tries to reconstruct her life, having to fight against her family members, who feel entitled to control her life. But despite this exciting starting point, I could never really relate to the film or sympathize with any of the characters, except maybe with the most consistent of them all, Nigel, who, granted, is an unfaithful husband, but who is prepared to do anything for the sake of his children. I think in fact that consistency (or rather the lack of it) is the key word accounting for my dissatisfaction with this film. For if there IS consistency BETWEEN "Dans Paris" and "Non ma fille" there is actually NO consistency WITHIN either of them. "Dans Paris" amounts to a more or less random series of sequences: a secondary character speaking into the camera telling us he will be the narrator; a very theatrical breakup scene; Romain Duris singing badly to a Kim Wilde CD; Jonathan taking half an hour of the film heading to the Bon Marché, screwing three chicks in the meantime; Romain Duris moping for even longer; a very amusing scene featuring Guy Marchand, the father, and Marie-France Pisier, a botched ending, and that is about all. The same inconsistencies plague the second film. For instance, fifteen minutes or so into the film, Michel, the father becomes the narrator - but for one sequence only; when the magpie saved by Lena at the request of her kids dies, she buries it in a panic but the subject is never tackled again; at a time we learn that Michel suffers from a serious illness but there will be no more allusion to this fact; in most sequences Michel and Annie (the parents) quarrel and seem to hate each other's guts while in others they make love like youthful lovers and share a real complicity; the narration is interrupted by an ancient Breton tale featuring a young woman who causes the death of her suitors(what is it supposed to mean: Lena is considered by others as a witch? Lena IS a witch?); we never know what Frédérique blames her husband for, she keeps saying she will have a divorce before announcing by the end of the film that she does not want a divorce after all…; and so on and so on.

How can you have sympathy (or antipathy) for characters that are so poorly delineated? You can't actually. You remain unconcerned and little by little you become bored first and annoyed as time goes by.

Even worse is the director's pretension: in each shot, he makes you feel how important the subject is, how admirable his (and co-writer Geneviève Brisac's) rebellious Lena is. To my mind, a little more modesty and a little more hard work on the continuity would have been welcome.

Nevertheless "Non ma fille tu n'iras pas danser" is not a complete failure, 'Dans Paris' was not either. For both films are saved by their actors: Guy Marchand and Marie-France Pisier were exceptional in the 2006 movie. And in "Non ma fille" the whole cast is to be congratulated. Chiara Mastroianni - it goes without saying - gives a remarkably dedicated performance as Lena. She really sinks into her part, even if the character she embodies is fairly irritating and if she cries too much in the last part (but Christophe Honoré is to be blamed for that, not her). And if there is one thing the filmmaker can be credited for, it is his love for aging actors and actresses, somewhat forgotten or little known: it is indeed a pleasure to see Marie-Christine Barrault on the big screen again and she is really excellent as Lena's possessive mother. Face to her, Fred Ulysse (mainly a stage actor) gives an amazingly natural performance. And Julien Honoré, the director's brother, is a discovery as Lena's joking (but not so sympathetic) brother.

There are also some nice views of Brittany, the native region of Christophe Honoré. But these qualities do not save such an ill-written film from boredom. It seems to me Christophe Honoré makes too many films too fast. Let him follow the example of Claude Sautet. Sautet, who was not the prolific kind, could have made this film. The only difference is that it would have been ... made to perfection.

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