| Photos (See all 18 | slideshow) | Videos |
| Lambert Wilson | ... | Christian | |
| Michael Lonsdale | ... | Luc | |
| Olivier Rabourdin | ... | Christophe | |
| Philippe Laudenbach | ... | Célestin | |
| Jacques Herlin | ... | Amédée | |
| Loïc Pichon | ... | Jean-Pierre | |
| Xavier Maly | ... | Michel | |
| Jean-Marie Frin | ... | Paul | |
| Abdelhafid Metalsi | ... | Nouredine | |
| Sabrina Ouazani | ... | Rabbia | |
| Abdellah Moundy | ... | Omar (as Abdallah Moundy) | |
| Olivier Perrier | ... | Bruno | |
| Farid Larbi | ... | Ali Fayattia | |
| Adel Bencherif | ... | Le terroriste | |
| Benhaïssa Ahouari | ... | Sidi Larbi (as Benaïssa Ahaouari) | |
| Idriss Karimi | ... | Hadji | |
| Abdellah Chakiri | ... | Le colonel | |
| Goran Kostic | ... | Le chef de chantier croate | |
| Stanislas Stanic | ... | Ouvrier croate 1 | |
| Arben Bajraktaraj | ... | Ouvrier croate 2 | |
| Zhour Laamri | ... | La femme de Sidi Larbi | |
| Raouia | ... | La villageoise (as Raouya) | |
| Farid Bouslam | ... | Ahmed | |
| Fadia Assal | ... | La femme de Nouredine | |
| Maria Bouslam | ... | Saloua | |
| Soukaïna Bouslam | ... | La fille de Saloua | |
| Rabii Ben Johail | ... | Terroriste 1 | |
| Saïd Naciri | ... | Terroriste 2 | |
| Hamid Aboutaieb | ... | Terroriste 3 | |
| El Alaoui El Hassan | ... | Le berger |
Directed by | |||
| Xavier Beauvois | |||
Writing credits(in alphabetical order) | ||
| Xavier Beauvois | adaptation (dialogue) | |
| Etienne Comar | scenario | |
Produced by | |||
| Pascal Caucheteux | .... | producer | |
| Etienne Comar | .... | producer | |
| Jean-David Lefebvre | .... | executive producer | |
| Frantz Richard | .... | area executive producer | |
| Grégoire Sorlat | .... | producer | |
Original Music by | |||
| Mike Kourtzer | (sound mix) | ||
Cinematography by | |||
| Caroline Champetier | |||
Film Editing by | |||
| Marie-Julie Maille | |||
Casting by | |||
| Brigitte Moidon | |||
Production Design by | |||
| Michel Barthélémy | |||
Art Direction by | |||
| Yann Megard | |||
Costume Design by | |||
| Marielle Robaut | |||
Makeup Department | |||
| Pierre Olivier Persin | .... | special makeup effects artist | |
Production Management | |||
| Edouard Decker | .... | assistant unit manager | |
| Khaled Haffad | .... | unit manager | |
| Thibault Mattei | .... | unit production manager | |
| Mounir Said | .... | unit production manager | |
| Thibault Spiral | .... | assistant unit manager | |
Second Unit Director or Assistant Director | |||
| Guillaume Bonnier | .... | first assistant director | |
| Akrame El Meziane | .... | co-first assistant director | |
| Amine Louadni | .... | second assistant director | |
| Constance Stalla | .... | third assistant director | |
Art Department | |||
| Johanna Colboc | .... | assistant art director | |
| Guillaume Deviercy | .... | property master | |
| Hind Ghazali | .... | set decorator | |
| Omar Ouachachane | .... | art department | |
| Boris Piot | .... | set dresser | |
| Francis Poirier | .... | hod sculptor | |
| Martinus Van Lunen | .... | construction coordinator | |
Sound Department | |||
| Éric Bonnard | .... | sound re-recording mixer | |
| Damien Bouvier | .... | post sync dialogue | |
| Jean-Jacques Ferran | .... | sound recordist | |
| Matthieu Fichet | .... | assistant sound editor | |
| Carl Goetgheluck | .... | foley re-recordist | |
| Vincent Guillon | .... | sound & dialogue editor | |
| Vincent Milner | .... | foley artist | |
| Loïc Prian | .... | sound editor | |
| Mathieu Weber | .... | boom operator | |
Special Effects by | |||
| Jacques-Olivier Molon | .... | special effects crew (uncredited) | |
Visual Effects by | |||
| Charlotte Quemy | .... | restoration supervisor | |
Stunts | |||
| Joseph Beddelem | .... | stunt performer | |
| Tarick Hadouch | .... | stunt performer | |
| Cedric Proust | .... | stunt coordinator | |
| Mustapha Touki | .... | stunts | |
| Mohamed Attougui | .... | stunt performer (uncredited) | |
Camera and Electrical Department | |||
| Sofiane Amly | .... | additional video assist | |
| Carole Ardoin | .... | assistant camera | |
| Emmanuel Demorgon | .... | gaffer | |
| Aziz Lechgar | .... | second assistant camera | |
| Stephen Mack | .... | first assistant camera | |
| Guillaume Quoilin | .... | steadicam operator | |
Casting Department | |||
| Akrame El Meziane | .... | casting director: Morocco | |
Costume and Wardrobe Department | |||
| Alice Cambournac | .... | costumer | |
Editorial Department | |||
| Myriam Coën | .... | digital conformation | |
| Sophia Del-Vecchio | .... | digital conformation | |
| Julie Duclaux | .... | assistant editor | |
| Philippe Tourret | .... | post-production coordinator | |
Other crew | |||
| Frédéric Cauvy | .... | weapons | |
| Hicham El Ghorfi | .... | location scout | |
| Agathe Grau | .... | script supervisor | |
| Christian Dines | .... | bonus material editor (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
I liked the control of this film's ambiguities. At first I thought it was set in France. Then, perhaps, a Balkan country. Only later does the film reveals itself but not before one has confronted several assumptions about the rightness or wrongness of there being a monastic order at the centre of a largely Muslim community.
During the film the seven monks are obliged to consider their practical role, their higher purpose and their own strengths as men, individually and collectively. We are told next to nothing of their back story and must work from their characters as revealed in the situations in which they find themselves - tending the sick, and facing the political and physical threat of the internecine attrition of local Muslim factions.
The performances operated along an axis that has the sage, worldly but ageing Michael Lonsdale (Luc) at one end and Lambert Wilson at the other, giving a career-watershed performance as Christian, the youthful, scholarly, faith-secure leader of the group. The film's ascetic design affords ample opportunity for beautifully composed shots that recall late 17th century Italian church allegories or the martyrdom-piety of Carl Dreyer's Joan of Arc. This is particularly the case in a memorable, exquisitely filmed Antonioni-like extended- denouement sequence which scrutinises the group as they eat supper after making the key decision of the film.
In addition to the performances of Lonsdale (creating a character on a continued trajectory from the worldly-compassionate servitude shown in Frankenheimer's Ronin) and the excellent Wilson, I admired director Xavier Beauvois' restraint in not laying on the piety too heavy and in pitching the pragmatism of the self-sufficient monks just right. The film doesn't preach. If anything, in its austerity it can seem a little remote for a Western audience. Still, the cold and hardship, like much else in the film, rings true. 7/10