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Final Balance (2011)

Légitime défense (original title)
Benoît, jeune père de famille, mène une vie heureuse et sans histoire. Un jour, son père détective privé, disparaît mystérieusement. Benoît va découvrir la part dombre dun père quil pensait... See full synopsis »

Director:

Pierre Lacan

Writers:

Alain Wagneur (novel), Pierre Lacan (adaptation) | 4 more credits »
Reviews
1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Jean-Paul Rouve ... Benoît
Claude Brasseur ... Vautier
Olivier Gourmet ... Moret
Marie Kremer ... Jessica
Gilles Cohen Gilles Cohen ... Zamanski
Franck Tiozzo Franck Tiozzo ... Bibi
Besnik Limani Besnik Limani ... Dragan (as Bess Limani)
Nicole Valberg Nicole Valberg ... Marinette
Catherine Bary Catherine Bary ... Joëlle Fiony
Sandrine Blancke Sandrine Blancke ... Emilie, la femme de Benoît
Myriem Akheddiou ... Fuzier
David Manet David Manet ... Lherbier
Frédéric Lubansu Frédéric Lubansu ... Gaillon
Théo Saillier Théo Saillier ... Johnny
Albert Goldberg Albert Goldberg ... Pascal Fiony
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Storyline

Benoît, jeune père de famille, mène une vie heureuse et sans histoire. Un jour, son père détective privé, disparaît mystérieusement. Benoît va découvrir la part dombre dun père quil pensait connaître. Et pour la première fois, il va devoir se battre pour sauver sa peau et protéger les siens.

Add Full Plot | Plot Synopsis

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Details

Country:

France

Language:

French

Release Date:

16 March 2011 (France) See more »

Also Known As:

Final Balance See more »

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Box Office

Cumulative Worldwide Gross:

$154,245
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »

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User Reviews

 
Thriller with a thread
27 December 2011 | by j-a-scaifeSee all my reviews

The French title, 'Légitime défense', was translated on the screening I watched into 'The law of violence'. This put me in mind of Cronenberg's 'History of violence'; parallels surfaced right through Pierre Lacan's film. Each film held my attention but in strikingly different ways. Cronenberg provided an intense feed of sensational episodes of a threatening, a violent or a sexual nature, with lurking, dark family issues permeating the mix. But this was achieved, in view, at the cost of impoverished coherence and credibility of the story line. Is that a pedantic criticism? Is 'story' relatively irrelevant in films of an 'action' genre? Lacan shows that this need not be the case. He maintains attention through exactly the same devices as Cronenberg but not at the expense of a believable narrative thread. Believable, and as a consequence, identifiable with: with Lacan's movie I couldn't help asking myself, 'Christ - what the hell would I do in that situation?' That level of artistic intimacy wasn't reached, for me, by the Cronenberg film.


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