TO MY SISTER ! Download press kit - Flach Film

A MA SŒUR !
will be released on March 7, 2001,
distributed
by Rezo Films in France
by Agora Films in Switzerland
by Progrès Films in Belgium
and shortly
in the following countries:
Holland Film Museum
Japan Prénom H
Turkey Irfan Film
Brazil Mostra
Russia ASG Video
Finland Cinema Mondo
Iceland Haskolabio
Hong Kong First distributors
Situation on 30/01/2001

Jean-François Lepetit
presents
A film by
Catherine Breillat
Official selection Berlin 2001
In competition
Screenings:
Official: February 10, 2001 at 4:30 pm at Berlinale-Palast
Press: February 10, 2001 at 9:30 am at Berlinale-Palast
(Followed by a press conference at the Berlinale-Palast press center)
Additional screenings: February 11, 2001 at 9:30 am and at 11:30 pm at Royal Palast
February 11, 2001 at 8:00 pm at International
Running time: 93 min. / Format: 1.85 / Son: SRD
a Franco-Italian co-production
FLACH FILM - CB FILMS - ARTE FRANCE CINEMA
IMMAGINE & CINEMA - URANIA PICTURES
With the participation of Canal+
and the Centre National de la Cinématographie
www.amasoeur.com
Distribution Press in Berlin
Press
Rezo Films Brigitta Portier
d.d.d. Conseil
29, rue du Fbg Poissonnière Tel: +49 30 252 91477
5, rue Robert-Estienne
75009 Paris Fax: +49 30 252 91325
75008 Paris
Tel. : +33 1 42 46 96 10
Fax. : +33 1 42 46 96 11
Mobile phone: +32 477 982584
E-Mail: brigittaportier@hotmail.com
Tel. : +33 1 56 43 44 01
Fax. : +33 1 44 95 75 47

is twelve and bears the
weight of the world on her
synopsisAnaïs
shoulders. Her body is both the
citadel for her pain and a fortress.
Huddled up safely or forgotten by
others, she is an observer.
It’s summertime, by the sea, family
holidays. Holiday love affairs. This
is the apprenticeship of first love.
Anaïs experiences it by proxy. She
watches her older sister, Elena,
whom she both loves and hates.
Elena is fifteen and devilishly
beautiful. Neither more futile, nor
more stupid than her younger
sister, she cannot understand that
she is merely an object of desire.
And, as such, she can only be
taken. Or had. Indeed, this is the
subject: a girl’s loss of virginity.
And, that summer, it opens a door
to tragedy.

interview with
catherine
breillat
Where do the subject and characters of
“A ma sœur” come from?
For some years, I had had a news item in
mind. What had struck me as much as the
crime itself was the way in which the press
had related it. They were clearly attempting to
give it a moral meaning to understand and
accept it. I felt that such stories should be
told differently. Then, one day, by a hotel
swimming pool, I observed the following
scene: a chubby adolescent girl was moving
back and forth across the pool, talking to
herself as if speaking words of love to
imaginary boys. Her family and her older
sister were there too. I started imaging a little
girl like her in my news item.
Strangely, I had never made a film dealing
with the bond that can exist between two
sisters, something that I myself have known
through my own sister. I wanted to explore
the total complicity that can co-exist
alongside genuine ferocity. It became the
fundamental subject of the film. The two
sisters share their lives; the rest of the world
barely exists and doesn’t enter into their
relationship. The holiday affair is an obstacle
to this demanding relationship that they have.
In this film, you have also attempted to
tell a story of the “first time”. How does
A ma sœur ! fit in with your reflection on
sexuality and its apprenticeship?
The film also deals with the betrayal of
romantic seduction. Elena is more romantic
than her sister. She is seeking romantic love,
which is normal at her age. Moreover, while
Anaïs pretends not to be jealous, she’d
nonetheless like to be in her shoes. There
again, I don’t think there’s an apprenticeship.
Experience proves that we make the same
mistakes time and again, even if we
occasionally do it with full knowledge of the
facts. Elena doesn’t believe what the boy tells
her simply because she is fifteen and naïve
but because all she can do is believe it! The
words that Elena takes to be promises only
have their truth at that moment, in order to
serve the boy’s opportunistic attitude. This
doesn’t necessarily mean that they are lies
and that’s why it’s so easy to believe them. He
himself is sincere, even if his behaviour
disproves what he says.
Isn’t it hard to make young actors
perform situations that they are likely
to experience in real life? How to you
manage to retain the fictional aspect?
The film is inevitably affected by the human
situations on the set. The most surprising
thing is that Roxane and Anaïs really acted
like sisters. The scene of their helpless
laughter on the bed reflects what was really
happening between them off camera: they
truly had that kind of relationship without
necessarily being sisters and despite their
age difference. There again, films always
generate odd behaviour... At first, I was
worried that they wouldn’t get on, that they
would be jealous of each other. But I think
that they developed this amazing complicity
in order to find some protection for
themselves in relation to the film. It was a
little like a refuge for them. There again, if
Anaïs had been left out of it more, her
character would have been entirely
different.
For some scenes, the shooting conditions
weren’t easy. For example, they had to
perform in swimsuits when the temperature
was 4 degrees, bathe in very cold water:
things that you can only do for a film! But, in
my opinion, that’s peculiar to the cinema:
you do things for a film that you’d never do

interview with catherine breillat
in real life. And, even though this is painful
and hard at times, I believe it is also
exalting. Moreover, I have noticed that when
an actor is confronted with something difficult
to do, it’s the thing he does with the most
ease! That’s what’s so exciting in this
business.
As Elena discovers the male body,
Anaïs withdraws into herself, into her
plumpness, in a form of self eroticism...
Yes, because deep down, Anaïs is convinced
that she is the better of the two. There’s
always a rivalry between sisters and Anaïs
fights back with the weapons at her disposal.
But, deep down, she exists more than her
sister does. Elena’s personality has already
been slightly distorted by the idea of being a
young girl of her age and her time. Because
of her desire to please, she isn’t completely
herself. She is beautiful, she is loved, she is
fulfilled: but, deep down, this psychological
comfort prevents her from finding herself.
She simply has to conform to the norm that
she corresponds to.
Anaïs resists better. She absorbs the world
while her sister, on the contrary, is absorbed.
Moreover, Anaïs is very comfortable with her
body, feels at ease. Hers is not an autistic,
self-destructive form of obesity but an obesity
that is made to conquer the world. I find her
body very beautiful; it’s a baby’s body yet, at
the same time, it is very erotic. The problem
was that her body had changed between
casting and the end of the shoot. I didn’t want
her to be too developed with too much of a
bosom: but, in the end, when I saw her in her
swimsuit, I realised that she truly had a
“forbidden body”, a blend of a little girl’s body
and, at the same time, an incredible sexual
opulence.
At some points in the film, the two
sisters seem to act like a single
character...
I viewed them as a “soul with two bodies”.
This is the syndrome of sisters who have
trouble finding their own identity. The one
feels what the other does. In a way, she lives
it just as much and it becomes part of her
experience. They are not separated, even if
the older sister tries to break away; she is
always dependent on the way the other sees
her. It’s a “fusional” and almost “confusional”
relationship: moreover, in the real world,
adults often mix up the first names of brothers
and sisters. It’s a cursed love because one
takes the place of the other, as when the
mother slaps Anaïs instead of Elena.
Moreover, the worlds of the parents and
the children never communicate.
For these two sisters, their father is their first
disappointing male. He can only take care of
his daughters on a material level. He has no
opinion of them, he doesn’t even try to
understand them and yet he believes that he
takes care of them. No communication is
possible with his children, or with his wife. For
him, only the image counts, the signs of
happiness: the house, the holidays, the family.
The parents simply follow an idea of what
they believe their duty to be. Although the
mother may punish the girls by interrupting
their holiday, she doesn’t know how to react,
deep down. On a sexual level, I believe that
one can’t wield any authority and that it’s
stupid to make guilt so important. Moreover,
the parents probably didn’t behave any better
in their youth and even in their adulthood they
have perhaps been just as irresponsible. I
liked the idea that the film should descend
towards crime and horror even, because of
this error of judgement.
Were the songs that Anaïs sings written
for the film?
No, they’re songs that I wrote as an
adolescent. I originally wanted her to sing a
song by Laura Betti. As a girl, I had been

interview with catherine breillat
marked by her extremely provocative
positions as an actress and a singer. I didn’t
find the song I wanted but I came across the
INA interview that you see in the film. So, I
thought that Anaïs could sing the crow song
that I had written when I was twelve or
thirteen. It had been inspired by François
Villon’s La ballade des pendus which has
something very childlike and naïve in its
darkness, while remaining a outstanding
piece of work.
I also needed a dash of tragedy. Originally,
we were going to shoot in Sicily. The scene
on the beach took place on Etna. The volcano
provided a magical, dark, shadowy element.
But the wild coastline that we shot on doesn’t
leave such an intense impression as a
volcano. I felt that these songs would bring in
a tragic and sombre note through their
obsession with death that I believe is inherent
in adolescence. Anaïs is also trying to attract
attention, for example, in the scene on the
beach when Elena is behind a dune with the
boy. At that point, Anaïs broods in a very
romantic way; she has the attitude of a presuicidal
child who says, “I may be dying
because no one pays any attention to me.”
This romanticising of death is, I think, a
certain idea of life. The idea you have during
adolescence. Deep down, it’s a matter of
destroying the child within you. The problem
is that you can easily destroy the child within
you without necessarily becoming an adult!
(laughter)
Despite the subject matter, the film,
although fairly explicit, is less “detailed”
than Romance.
The truth doesn’t necessarily lie in what you
see. The image is a false witness. It’s always
the meaning and impression given off by the
whole film that makes you believe in what you
see and feel that it’s important. Moreover, I
didn’t want to cut myself off from a younger
audience. The film’s crudity is very relative
and I believe that it can even be instructive in
some ways. There’s also a lightness, a
“sitcom” aspect that I was aiming for. Indeed,
the dialogue is transparent and very easy to
understand. The whole romantic dialogue is a
sitcom dialogue. Moreover, when you’re in
love, you always speak a little like this and the
only difference is that you believe it and that
what you say involves you body and soul. But
there’s also a comic effect, such as when
they kiss while talking about what their
fathers do. When you’re young, you always
ask this kind of question when in fact you
mean something else. This also exists in adult
relationships, even if it remains outrageously
adolescent in the film. Girls who set off
looking for boys like that exist. And often
these adolescents don’t even realise that
they’re seducing each other when they meet
and that’s what’s funny!
The film abandons the portrait of
adolescence to move towards the crime.
How did you get the idea of this long
sequence of the motorway journey?
I have always been fascinated by these car
journeys, on the road to the holidays, with
the children in the back, lugged around like
bodies who don’t have their word to say,
with the parents smoking in the front. The
scenery interested me too but only to the
extent that it reflects a state of mind. This
motorway is approached with anxiety and
there is even a sort of “horizontal vertigo”. I
wanted to describe this hallucinogenic and
possibly psychotic aspect of the road and,
at the same time, its hostility. The inside of
a car is a confined world where people are
close and, at the same, a long distance
from each other. The girls weep and the
mother, in the front, wants to see nothing,
hear nothing and simply grips her wheel.
She is entirely caught up in driving and
cannot communicate. She doesn’t even
give the impression of driving; she is
“driven” by the road.
Did you have a vision of the film’s whole
structure from the outset?
No, I needed to combine my sources of inspiration.
But, in general, I discover my film in making it. That’s
why I find it very hard to talk about the film’s
screenplay before shooting. I refuse to bring to life
just what I have written. If everything has been
expressed, there’s no need to film it. The screenplay
simply contains markers: I don’t understand what I
want to say until I finish the film. That’s why I cannot
censor myself. I’m afraid before shooting the
scenes but I have to push that danger aside and
ignore this fear, even if it is genuine. The fear of
failure simply leads to failure. You think that you can
biography
Films
Une vraie jeune fille
Tapage nocturne
36 fillette
Sale comme un ange
À propos de Nice, la suite
(Aux Niçois qui mal y pensent)
Parfait Amour !
Romance
À ma sœur !
Screenplays
january 2001
Catherine et compagnie... Michel Boisrond
Bilitis David Hamilton
La Peau (co-screenwriter) Liliana Cavani
L'Araignée de satin (co-screenwriter)
Jacques Baratier
E la nave va (co-screenwriter)Federico Fellini
Police Maurice Pialat
Zanzibar (co-screenwriter) Christine Pascal
Milan noir (co-screenwriter) Rony Chamah
La Nuit de l'océan(co-screenwriter)
Antoine Perset
cling to experience and skill but these are things
that can play tricks on you. A film must be fuelled by
desire. One must not lose sight of the fact that
there’s something mysterious about film creation:
you go from a craftsman-like technique - the
camera, the set, the lights - and at times end up with
something magical. Fundamentally, a film set is a
sacred place where you enter into a relationship
with something very metaphysical. Silence and
concentration attain almost religious levels. A
director isn’t someone who gives orders but who
puts people under the influence. But there’s no
method to it, there are no rules: you don’t know how
you do it, you even wonder what immaterial power
makes you the filmmaker. This mystery is what
amazes me the most.
Aventure de Catherine C. (coscénariste)
Pierre Beuchot
La Thune Philippe Galland
Le Diable au corps (téléfilm)
Gérard Vergez
Viens jouer dans la cour des grands
Caroline Huppert
Novels
L'Homme facile Christian Bourgois
Éditeur et 10/18
reprinted by
J'ai Lu 2001
Le Silence, après... François Wimille
éditeur
Les Vêtements de mer (théâtre)
François Wimille
Éditeur
Le Soupirail Guy Authier
Éditeur
Tapage nocturne Mercure de France
Police Albin Michel et
Éditions J’ai Lu
36 fillette Carrère
Le Livre du plaisir Éditions Numéro 1
Une vraie jeune fille Éditions Denoël

impressions
anaïs reboux
I met Catherine Breillat while she was casting the
film. In the end, there were three of us left and
Catherine had us read the screenplay in its
entirety. Even if I found a few elements of myself
in it, the character wasn’t really me. Anaïs is a
little girl who doesn’t really want to live because
her life is rather sinister. I think that she’s jealous
of her sister, even if, deep down, she is more
intelligent and more mature than Elena. She
clearly understands what is happening to her
sister who is fooled by the boy. She is in the
position of an observer, which helps her
understand more quickly. But she needs to have
her life transformed. I think that what happens in
the film will, in spite of everything, bring her out of
her shell.
During the shoot, everyone was very kind to me.
They always tried to be close to me, to reassure
me.
roxane mesquida
The screenplay for “A ma sœur” made a very
strong impression on me. I read it during a
free period at school and I was very unsettled
by the story. I walked around school after in a
very odd state... I could tell that there was
something very interesting to perform in it. I
had seen “Romance” and I felt that the film
never became vulgar and, on the contrary,
managed to show something very pure. “A
ma sœur !” is a lot “softer” even if there are
some fairly crude moments. My meeting with
Catherine Breillat went very well, we
immediately got on very well. On the set, she
managed to inspire us to reveal surprising
emotions. She would incite the actors to
continually go further and we were overjoyed
by that. Anaïs and I also had a great deal of
It was a wonderful experience, I got on well with
the other actors and Roxane and I have become
friends. I don’t know if I’ll make other films, I don’t
plan to force things. I’m still considering it.
The hardest part for me was the scene when I get
slapped. I had to start crying and I couldn’t do it!
In the end, I called my mother, who pretended
that my little dog had run off. I knew it wasn’t true
but I acted as if it was and it worked.
The first leading roles for Anaïs REBOUX
and Roxane MESQUIDA, although the
latter has been seen in supporting roles for
Benoît JACQUOT in L’école de la chair and
Manuel PRADAL in Marie Baie des Anges.
complicity, which helped us a lot. As for the
character of Elena, I must say that the part
wasn’t an easy one. She could come across
as being a superficial and naïve girl who gets
fooled by a boy. She had to be given a certain
depth. There were also some difficult things
to perform that I had never done for a film. For
the long love scene, Catherine took her time
to make me comfortable. And, in the end, I
have wonderful memories of the scene, my
best day of shooting.
I knew the world of Catherine Breillat well
and we had already met.
When she called me, I immediately gave my
agreement before reading the screenplay,
without trying to figure out what she had in
mind in choosing me for the part.
I told her that if she chose me as an actor, she
did so at her own risk! This indifferent father,
concerned by his own affairs, is a fairly
unsympathetic character. I would make fun of
Catherine, saying that she had only chosen
me because Rocco Siffredi had disappointed
her! (laughter)
On the set, I tried to be at her complete
disposal, to be totally available by forgetting
that I too am a director. Even so, I was fairly
worried about my own acting skills. Catherine
is very demanding in her work, she is looking
for something very precise which isn’t always
easy to express but she searches continually.
She cannot always provide the explanation,
you simply have to move through the scene
for things to become clear little by little.
When Catherine Breillat asked me to be in
the film, I had just about given up acting. I had
seen “Romance”, which had caused quite a
stir in Italy, “Tapage nocturne” and “36
fillette”. On reading the screenplay for “A ma
sœur !”, I felt that it was the best screenplay I
had ever read. I immediately told Catherine
who didn’t believe me! I came to France and
I took intensive French lessons for a month to
be able to say my lines properly.
The character of Fernando embodies the
cruelty of romantic relationships when they’re
not equitable. He’s a Casanova on holiday,
seeking above all an experience of physical
love and is of course incapable of keeping
the promises he makes. But, as an actor, I
romain goupil
I learnt a great deal about an actor’s work by
finding myself on the other side of the
camera, waiting for the least gesture or look
from the directors. Moreover, the actors soon
form a family. Here, totally naturally, the family
of the film formed off camera too. But the film
also awoke the fragility within us all. That’s
why we were very close on the set.
After working as an assistant director
for Nelly Kaplan, Jacques Deray,
Coluche, Chantal Akerman, Roman
Polanski and Jean-Luc Godard among
others, he directed several short films
and, in 1982, presented his first feature,
Mourir à trente ans, for which he was
awarded the Caméra d’Or at the Cannes
Festival and the César for Best First
Film in 1983.
His most recent film, A Mort la Mort,
based on his novel of the same name,
dates from 1998.
couldn’t judge this character without risking
losing him. I had to understand him differently
than from a moral angle, as if, deep down, he
represented the cruelty of nature within the
context of a holiday affair.
The work with Catherine and the whole crew
went well and I soon felt part of the family.
The nude scenes were no problem for me.
The film deals with intimate, highly private
moments but I wasn’t worried because I
knew I wasn’t in a porn film. My personal
relationship with Catherine was very good
and there were a lot of experienced people
on the crew. All this made the shoot a
fascinating and very pleasant experience.
A Ma Sœur ! by Catherine Breillat
La via degli angeli by Pupi Avati
Piu leggero non basta by B.Lodoli
libero de rienzo
Also a stage actor, he has taken part in
a number of festivals (Festival della
nuova drammaturgia italiana, Sentieri
D’ascolto )

arsinée khanjian
laura betti
I first met Catherine Breillat in Toronto, when
we had a long chat. I had seen a number of
her films and I liked the way in which she
tackled the prickly subject of sexuality without
taboos or anxiety. When she called me a few
months later, I had just seen “Romance”
which had finally been released in Canada,
amid all kinds of rumours. All the same, the
film went way beyond the sensationalism that
people tried to confine it to and it contained
an approach to sex that was done with
intelligence and original, well-thought-out
ideas. When she asked me to be in “A ma
sœur !”, I wasn’t at all scared because I had
no ethical problems with her style of cinema.
Catherine didn’t give me any indications
about my character outside the frame of the
film. It was only during the scenes and after
shooting, that I realised who my character
was. She’s a woman who submits to the
pressures of a self-centred husband, and she
is very vulnerable, probably too vulnerable to
have any authority over her daughters. During
the long drive back, on the motorway, we
realise that she is totally helpless, that she’s
incapable of acting in a responsible manner.
This refusal to understand her daughter could
even mean that she was subjected to similar
pressures in her youth.
On the set, Catherine concentrates on the
essentials and doesn’t attempt to go into
detail. She truly works with her actors; she
doesn’t retreat behind the camera but
remains physically very close to us. She is
very attentive because she is looking for
She launched her career as a singer at
the end of the 1950s and made her
stage debut under the direction of
Luchino Visconti in Arthur Miller’s The
Crucible.
In the 1960s, she embarked upon her
film career and became the muse of Pier
something precise without really knowing
what it is yet. She asked us to do some
difficult things, such as the slap scene that
we had to redo many times. Or perform in
swimsuits at very low temperatures! But we
were all ready to do it for the film. Catherine
demands a great deal of truth from her
actors. She makes no compromises because
she knows that compromises are always
visible on the screen.
Actress and muse of the director Atom
Egoyan in Next of kin, Exotica... or more
recently Felicia’s Journey (part of the
1999 Cannes Official Selection), Arsinée
Khanjian has also worked with Olivier
Assayas in Irma Vep and Fin août, début
septembre, and appeared in Michael
Hanecke’s film Code inconnu selected
in competition for the 2000 Cannes
Festival.
She also performs on stage in Europe
and Canada.
Paolo Pasolini.
Among others, she has worked with
Federico Fellini, Roberto Rossellini,
André Téchiné, Marco Bellocchio,
Bernardo Bertolucci, Jacques Deray,
Ettore Scola, the Taviani Brothers, Juan
Bunuel...
final credits
a film by
Catherine BREILLAT
with
Anaïs Anaïs REBOUX
Elena Roxane MESQUIDA
Fernando Libero DE RIENZO
The mother Arsinée KHANJIAN
The father Romain GOUPIL
Fernando’s mother Laura BETTI
The killer Albert GOLDBERG
Friends at residence Odette BARRIERE
Anne MATTHIJSSE
Pierre RENVERSEAU
Jean-Marc BOULANGER
Waiter Frédérick BODIN
Residence janitor Michel GUILLEMIN
Saleswoman Josette CATHALAN
Police officer Claude SESE
Inspector Marc SAMUEL
Assistant directors Michaël WEILL
Fabrice BIGOT
David SANTINI
Editing Pascale CHAVANCE
Gwenola HEAULME
Frédéric BARBE
Photography Yorgos ARVANITIS A.F.C.
Olivier FORTIN
Christophe LE CARO
Sound Jean MINONDO
Olivier VILLETTE
Erwan KERZANET
Sound editing Frédéric ATTAL
Sylvain LASSEUR
Mix Vincent ARNARDI
Salim AMRANI
Sets François Renaud LABARTHE
Yann RICHARD
Cécilia BLOM
Fabienne DAVID
Christophe GRAZIANI
Fabrice HERAUD
Gérald LEMAIRE
Jean-Luc MOLLE

Make-up Claire MONNATTE
Monique KAISER
Hair Patrick PELOILLE
Special effects make-up Dominique COLLADANT
Fabien TUIZAT
Continuity Séverine SIAUT
Casting Michaël WEILL
Gilles CANNATELLA
Fabrice BIGOT
Olivier CARBONE
Nicolas LUBLIN
Costumes Catherine MEILLAN
Sanine SCHLUMBERGER
Anne DUNSFORD VARENNE
Janet LATIMER
Steadycam Jacques MONGE
Props Julien POITOU WEBER
Production manager FREDY LAGROST
Production management Pierre CORDONNIER
Eric AUFEVRE
Jérôme ALBERTINI
Fabrice JOLY
Lysiane BIAGINI
Michelle MASSEYEFF
Sébastien COULET
Arnaud BOUDET
Marion GAILLARD
Emmanuel RIGAUT
Marc LENORMAND
François STACKE
Set construction Max Olivier DUCOUT
Roger SAILLARD
Pierre Eric YAKOVENKO
Christian LIONEL
Pascal GUYOT
Painting Françoise MALAPLATE
Marie CHAPUIS
François HENNEQUIN
Alexis JORAND
Guy LIONEL
Electricity Olivier REGENT
Izet KUTLOVAC
Lucilio DA COSTA
Amar KABOUCHE
Thierry ENGLER
Manuel LOPES
Dominique QUEROU
Grips Yorgos ANGELOU
Philippe ANDRON
Philippe GRUNEBAUM
Marcel BERTHOMIER
Riggers Fabrice SEBILLE
Alexandre PUTMAN
Danilo RADASINOVIC
Jean-Luc STAINCQ
Pascal RODRIGUEZ
Sébastien MEUNIER
Sound effects Philippe PENOT
Post-synchronisation Jean Max MORISE
Title design Lionel KOPP
Grading Jean-Marc GREJOIS
Still photographers Hervé LAFONT
Jonathan KRUGER
Administration Marie-Agnes BROSSAUD
Murielle CUSEY
Marie Christine GAUCHEE
Dominique FRIZAT
Producer’s assistant Héléna MENDES
Post-production Bernard BRUN
Stunts Michel CARLIEZ
Michel JULIENNE
David JULIENNE
Gaëlle COHEN
Francis BATAILLE
Gilbert BATAILLE
Tracking car Michel NORMAN
Police technical adviser Patrice GUILLAIN
Educator Sophie BELLAVOINE
Chiropractor Philippe MESTANIER
Guitarists Fabrice NGUYEN THAI
Jean-Paul JAMOT
a film produced by
Jean-François LEPETIT
a Franco-Italian co-production
FLACH FILM - CB FILMS - ARTE FRANCE CINEMA
IMMAGINE & CINEMA - URANIA PICTURES
With the participation of Canal+
and the Centre National de la Cinématographie

Press agent
d.d.d. Conseil
Advertising and promotion
ARGUMENTS
Patricia BALES
World sales
Flach Pyramide International - FPI
Flach Film web-site
http://www.flachfilm.com
Acknowledgements
Marie LEBEE, Dominique ROCHETEAU, Jean-Michel PINSON
Odette BARRIERE, Anne MATTHIJSSE
Jean-Pierre BENAIS, Séverine SAGET
Boris REBOUX, Nelly SEUGE, Marie-Hélène BREILLAT
Chantal POUPAUD, Claire CLOUZOT
Catherine and Jeanne RESSAIRE, Jacques CHATELAIN
Richard BOIDIN, Georges GOLDENSTERN
Pierre BENQUE, Christian BOURGOIS
LES MAIRIES DE LES MATHES - PARC DE LA RESIDENCE DE LA PALMYRE
ST PALAIS SUR MER et ROYAN - LA PREFECTURE DE LA ROCHELLE
LES GENDARMERIES DE LA TREMBLADE, ROCHEFORT et LA ROCHELLE
LA DDE DE LA TREMBLADE - L’ONF DES MATHES ET DE LA TREMBLADE
LA POLICE MUNICIPALE DE ST PALAIS SUR MER et ROYAN
LA DDE DU VAL D’OISE - LE GROUPEMENT DE GENDARMERIE DU VAL D’OISE
LA SANEF - LA PREFECTURE DU VAL D’OISE
LA PREFECTURE DE L’OISE - SAPRR - GESMIN
ETABLISSEMENTS BOSQUET - XEROX DOCUMENT STORE
CASABLANCA - RENAULT - TOD’S
CHŒUR DE FILLES CAECILIA DE SAINT CHISTOPHE
Shooting studio STUDIOS D’ARPAJON
Laboratory GTC
Film stock KODAK
Cameras IRIS CAMERA
Electric equipment LOCAFLASH
Technical vehicles GROUPE TSF
Sound equipment TAPAGES
Rerecording DCA
Auditorium AUDITEL
Sound effects auditorium LES DAMES AUGUSTINES
Post synchronisation STUDIO LINCOLN
Opticals MICROFILMS
Titles LUMIERE UNIQUE
MICROFILMS
Caterer GOUTILLE
Insurance LES ASSURANCES CONTINENTALES
Discorama Laura BETTI
Hosted by François BARNOLLE
Directed by Maurice BEUCHEY - 18/02/1962
I.N.A - INSTITUT NATIONAL DE L’AUDIOVISUEL
“ SOCIAL CLIMBER “
Performed by Laura BETTI
“ VENE CARNEVALE “
Music by Luigi BALDUCCI
Cataldo de PALMA and Francesco QUATELA
Performed by TAVERNANOVA
Published by Compagnia Nuova Indye and Jaune Citron (France)
With the kind permission of Compagnia Nuova Indye
“ MOI JE M’ENNUIE ”
“ J’AI MIS MON COEUR A POURRIR ”
Words and music by Catherine BREILLAT
“ THE PRETTY THINGS ARE GOING TO HELL ”
Performed by David BOWIE
David Bowie / Gabrels Reeves
© Nipple Music / Exploded View Music
© David Bowie / Virgin Records America Inc.
© Flach Film 2001
Flach Film Flach Pyramide International
12, rue Lincoln World Sales
75008 Paris 5, rue Richepanse
Phone: 33 1 56 69 38 38 75008 Paris
Fax: 33 1 56 69 38 41 Phone: 33 1 42 96 02 20
e-mail: flachfilm@flachfilm.com Fax: 33 1 40 20 05 51
site: www.flachfilm.com e-mail: elagesse@flach-pyramide.com