| Photos (See all 11 | slideshow) | Videos (see all 10) |
| André Wilms | ... | Marcel Marx | |
| Kati Outinen | ... | Arletty | |
| Jean-Pierre Darroussin | ... | Monet | |
| Blondin Miguel | ... | Idrissa | |
| Elina Salo | ... | Claire | |
| Evelyne Didi | ... | Yvette | |
| Quoc Dung Nguyen | ... | Chang (as Quoc-Dung Nguyen) | |
| Laïka | ... | Laïka - Dog | |
| François Monnié | ... | Epicier | |
| Little Bob | ... | Little Bob (as Roberto Piazza) | |
| Pierre Étaix | ... | Docteur Becker | |
| Jean-Pierre Léaud | ... | Le dénonciateur | |
| Vincent Lebodo | ... | Francis | |
| Umban U'kset | ... | Mahamat Saleh | |
| Patrick Bonnel | ... | Le directeur du centre de rétention | |
| Ilkka Koivula | ... | L'Italien | |
| Myriam 'Mimie' Piazza | ... | Mimie | |
| Luce Vigo | ... | La vendeuse sandwiches | |
| Valérie Caron | ... | Eoupse épicier | |
| Jérôme Boyer | ... | Policier frontière | |
| Jean-Luc Guion Firmin | ... | Réfugié Calais | |
| Pierre Morineau | ... | Gardien de nuit containers | |
| Johann Rioux | ... | Commandant CRS | |
| Julien Flematti | ... | CRZ zélé | |
| Eric Duteil | ... | Médecin | |
| Corinne Belet | ... | Infirmière | |
| Dominique Lepagne | ... | Infirmière | |
| Anne Lizy | ... | Infirmière | |
| Pierre Richards | ... | Employé dock | |
| Loïc Jamet | ... | Employé dock 2 | |
| Nico Garotin | ... | Membre group Little Bob | |
| Bertrand Couloume | ... | Membre group Little Bob | |
| Nicolas Noël | ... | Membre group Little Bob | |
| Gilles Mallet | ... | Membre group Little Bob | |
| Gilles Adam | ... | Pilier bar La Moderne / Préfet | |
| Patrick Leboucher | ... | Pilier bar La Moderne | |
| Michel Lacaille | ... | Pilier bar La Moderne | |
| Stéphane Livonnen | ... | Pilier bar La Moderne | |
| Arnaud Clément | ... | Client bar La Moderne | |
| Dominique Comont | ... | Client bar La Moderne | |
| Alain Guillot | ... | Client bar La Moderne | |
| Philippe Hubschwerlin | ... | Client bar La Moderne | |
| Franck Durand | ... | Client bar La Moderne | |
| Christian Amyard | ... | Docker | |
| Rudy Amyard | ... | Docker | |
| Brice Augé | ... | Docker | |
| Lucas Loubaresse | ... | Tueur | |
| Ireneusz Spiewak | ... | Tueur | |
| Gilles Charmant | ... | Vendeur de chaussures | |
| Mary Berkelmans | ... | Ménagère | |
| Seluna Lemercier | ... | Ménagère | |
| Fanette Martinié | ... | Ménagère | |
| Remi Pradinas | ... | Curé | |
| Stéphane Parthenay | ... | Curé | |
| Alain Chapelain | ... | Accordéoniste | |
| Rachid Bessal | ... | Réfugié Calais | |
| Oumar Ly | ... | Réfugié Calais | |
| Emmanuel Ingweiler | ... | Photographe | |
| Mathieu Hébert | ... | Barman | |
| Frank Atinault | ... | Pêcheur | |
| Dominiqur Mare | ... | Pêcheur | |
| Brice Niel | ... | Pêcheur | |
| Alban Rutten | ... | Pêcheur | |
| Franck Rutten | ... | Pêcheur | |
| rest of cast listed alphabetically: | |||
| Christophe Perez | ... | Police Officer (uncredited) | |
Directed by | |||
| Aki Kaurismäki | |||
Writing credits(in alphabetical order) | ||
| Aki Kaurismäki | written by | |
Cinematography by | |||
| Timo Salminen | |||
Film Editing by | |||
| Timo Linnasalo | |||
Production Design by | |||
| Wouter Zoon | |||
Costume Design by | |||
| Frédéric Cambier | |||
Makeup Department | |||
| Valerie Thery-Hamel | .... | key makeup artist | |
Production Management | |||
| Valérie Farthouat | .... | executive in charge of production | |
| Claire Langmann | .... | unit production manager | |
| Mark Lwoff | .... | production manager | |
| Remi Pradinas | .... | production manager | |
| Haije Tulokas | .... | executive in charge of production | |
| Augustin Werkoff | .... | assistant unit manager | |
Second Unit Director or Assistant Director | |||
| Gilles Charmant | .... | first assistant director | |
| Renaud Gast | .... | third assistant director | |
| Lucas Loubaresse | .... | second assistant director | |
Art Department | |||
| Pascal Courtinel | .... | painter | |
| Pomme Delépine | .... | assistant art director | |
| Sebastien Gallien | .... | assistant carpenter | |
| Sebastien Gallien | .... | carpenter | |
| Jean Claude Guillemain | .... | carpenter | |
| Jean-Claude Guilleman | .... | construction coordinator | |
| Thomas Pitre | .... | first assistant art director | |
| Gérard Simonet | .... | construction coordinator | |
| Ireneusz Spiewak | .... | property master | |
| Laurent Thevenot | .... | painter | |
| Wouter Zoon | .... | set designer | |
Sound Department | |||
| Iisakki Hormia | .... | post-production sound synch assistant | |
| Konsta Hormia | .... | post-production sound synch | |
| Benjamin Laurent | .... | boom operator | |
| Tero Malmberg | .... | sound editor | |
| Tero Malmberg | .... | sound | |
| Olli Pärnänen | .... | sound mixer | |
Camera and Electrical Department | |||
| Lazar Abdelkebir | .... | camera car | |
| Mika Ailasmäki | .... | first assistant camera | |
| Cyril Dupont | .... | electrician | |
| Eric Garzena | .... | lighting technician | |
| Marja-Leena Hukkanen | .... | still photographer (as Malla Hukkanen) | |
| Kalle Penttilä | .... | grip | |
| Anne Vahlsten | .... | second assistant camera | |
| Olli Varja | .... | gaffer | |
| Ville Väänänen | .... | lighting technician | |
Casting Department | |||
| Jean Eninger | .... | casting assistant: children | |
| Renaud Gast | .... | extras casting | |
| Elsa Pharaon | .... | casting: children | |
Costume and Wardrobe Department | |||
| Clara Lyonnet | .... | wardrobe | |
| Diane Wehrly | .... | wardrobe trainee | |
Editorial Department | |||
| Gérard Estival | .... | color timer | |
| Kirsi Hatara | .... | post-production secretary: Finland | |
Transportation Department | |||
| Lucien Lefèbvre | .... | driver | |
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| The Man Without a Past | Marie Galante | Monsieur Vincent | Happenstance | Port of Shadows |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb Finland section |
This is a sweet, lightly intoxicating thing like a small glass of calvados under the wisteria in the evening. Kaurismaki has aged and his outcast and misfit characters aged with him, the quirks mellowed, the ferocious smoking toned down, the lines in the sometimes quietly astonished stone faces deeper, wearier, but imbued with almost ascetic serenity.
Some viewers have complained, why trivialize an actual problem in the manner of a fairy tale? A fair complaint for a problem perhaps more pressing than ever, especially in France and especially these days, with Sarkozi's desperate attempt to shore up votes for what looks like near-certain defeat in the upcoming elections by reverting to reactionary rhetorics from the far-right.
No, I believe the fairy-tale is the point. The idyllic neighborhood. The mannered caricatures of French people, with even the poorest having the time and fine sense of taste to leisurely enjoy their freshly baked baguette or glass of wine. The miraculous turn of events, explicitly acknowledged in the finale where kindness of this world is so overwhelming it even cures sickness. How could anyone miss this?
But a certain emptiness has always been of the essence for Kaurismaki, deliberate, designed emptiness.
The world is always flat to that effect, two-dimensional. The characters lack any conventional depth to speak of and do not really grow or learn lessons. By contrast, the plots of the films often exhibit a life of spontaneous motion, the objectives intentionally abstract, journeys across town, to America, in search of coffee and cigarettes. Motion for the sheer musical capacity of life to fill the quiet, the room in the heart to do so.
So it is always a variation of transient worlds centered in the stillness of the present moment that Kaurismaki has studied and consistently delivered. What is so remarkable is that he achieves this without any layering whatsoever, as a single flow.
This is his most Japanese film to date, even more concentrated flow than usual. Which is to say artificial nature that does not attempt to pass for the real thing but instead is empty space cultivated for beauty, a road-map for inner heart.
(I saw this together with the recent viral video KONY2012 and the contrast was amazing: that one, shameless artifice passing as nature, as truth, the real thing, contriving to motivate awareness several years after the fact and by selling merchandise, but was in truth both misinformed and morally dubious and even perhaps unwittingly manipulated agitprop in the service of shady foreign policy, while this one is simple, crisp, gracefully moral work, that does create awareness without any agendas.)
So it is very much the point that no one in the film is shown to wallow in misery, and most of the characters we meet would have plenty of reason to do so. Instead they enjoy this drink or meal together, whatever is at hand. And act with no complaint in the present moment to do what needs to be done. There is no meddlesome thought or proud ego to cloud the mind from the day's work, be it polishing shoes or helping out an immigrant kid.
This is the beauty of the thing: an idyll embedded with the purity of soul that gives rise to it and clear images only possible because of this cloudless eye.
The parting image is of a blossomed cherry tree gently rocking in the breeze, among the most traditionally Japanese images.
It encapsulates motion in stillness. The song of Zen.