| Photos (see all 5 | slideshow) | Videos (see all 3 NEW) |
| Yekaterina Golubeva | ... | Katia (as Katia Golubeva) | |
| David Wissak | ... | David |
Directed by | |||
| Bruno Dumont | |||
Writing credits(in alphabetical order) | ||
| Bruno Dumont | writer | |
Produced by | |||
| Allen Bain | .... | co-producer | |
| Rachid Bouchareb | .... | producer | |
| Jean Bréhat | .... | producer | |
| Christel Brunn | .... | co-producer | |
| Darren Goldberg | .... | co-producer | |
| Muriel Merlin | .... | executive producer | |
| Axel Möbius | .... | co-producer | |
| Jesse Scolaro | .... | co-producer | |
| Christoph Thoke | .... | co-producer | |
Cinematography by | |||
| Georges Lechaptois | |||
Film Editing by | |||
| Dominique Petrot | |||
Casting by | |||
| Elisabeth Jereski | (as Liz Jereski) | ||
Costume Design by | |||
| Yasmine Abraham | |||
Makeup Department | |||
| Elizabeth Sloan Freel | .... | key makeup artist | |
| Jacobine van der Meer | .... | special makeup effects artist (as Jacobine Von der Meer) | |
Production Management | |||
| Stephane Guarese | .... | post-production manager | |
| Muriel Merlin | .... | unit manager | |
| Aaron Waiton | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Claude Debonnet | .... | assistant director | |
| Yann Sobezynski | .... | first assistant director | |
Art Department | |||
| Neil Driscoll Jr. | .... | lead man | |
| Megan Kelley | .... | assistant property master | |
| Duke Scoppa | .... | property master (as Edward Scoppa Jr.) | |
| Lisa Scoppa | .... | set designer | |
Sound Department | |||
| Stephan Becker | .... | foley editor | |
| Eric Ferret | .... | post-synchronisation | |
| Patrice Grisolet | .... | sound editor | |
| Harald Guhn | .... | sound mixer | |
| Michael Kranz | .... | sound mixer | |
| Philippe Lauprete | .... | boom operator | |
| Philippe Lecoeur | .... | sound | |
| Stephane Rabeau | .... | assistant sound editor | |
| Wilmont Schulze | .... | foley artist | |
Visual Effects by | |||
| Manfred Büttner | .... | visual effects producer | |
| Sandra Moll | .... | visual effects producer | |
| Heiko Schweizer | .... | digital effects artist | |
Stunts | |||
| Michael Antonik | .... | stunts (as Mike Antonik) | |
| Scott Rhodes | .... | stunt coordinator | |
| Scott Rhodes | .... | stunts | |
Camera and Electrical Department | |||
| Roger Arpajou | .... | still photographer | |
| Brian Christie | .... | additional grip | |
| Matthew Deetsch | .... | additional electrician (as Mathew Deetsch) | |
| John DeFazio | .... | additional grip | |
| Erik Gonzales | .... | additional electrician | |
| Raphaelle Gosse-Gardet | .... | gaffer | |
| Tom Guiney | .... | grip | |
| Marc Hillygus | .... | assistant camera | |
| James Mann | .... | best boy electric | |
| Nicolas Martin | .... | assistant camera | |
| Craig McNelley | .... | electrician | |
| Michael P. Prisco Jr. | .... | additional electrician | |
| Andy Thomas | .... | key grip | |
Casting Department | |||
| Catherine Park | .... | casting assistant | |
Editorial Department | |||
| Aurélie Laumont | .... | color timer | |
| Christophe Legendre | .... | color timer | |
| Annie Pierre | .... | assistant editor | |
| Juliette Urbain | .... | conforming editor | |
Other crew | |||
| Virginie Barbay | .... | script supervisor | |
| Lucie Bourzam | .... | production administrator | |
| Delphine Couslan | .... | production secretary (as Delphine Coualan) | |
| Erik Gonzales | .... | condor operator | |
| Laurence Granec | .... | press attache | |
| Karine Menard | .... | press attache | |
| Cyrus Mostofi | .... | production administrator | |
| Steven Ritt | .... | dog trainer | |
Thanks | |||
| Kirsten Dunst | .... | thanks | |
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| Ken Park | 37°2 le matin | Novecento | Die Blechtrommel | Midnight Cowboy |
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i can easily understand why this film has been so hated, but i must say that it is at times one of the most beautiful, and at others, one of the most disturbing films i've ever seen. after seeing humanite, i walked in to the theatre with very low expectations (i'm not a dumont fan in the least), but something in the stark beauty of the photography sucked me in, i found the numb vacant space of the characters, and hook, line and sinker, fell right into dumont's trap. i doubt i would recommend this film to anyone but my closest (and most tolerant) friends, but have to say that i loved it, and thing it may also be found rewarding by other patient and adventurous viewers.