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Gilles Mimouni (writer)
27 July 1996 (Japan) more
Max is on his way to Tokyo. He lives in Paris and likes to flirt but has decided to get married. By chance... more | add synopsis
Won BAFTA Film Award. Another 1 win & 2 nominations more
April Showers: Irreversible
(From FilmExperience. 15 April 2009, 8:00 PM, PDT)
Molière: One Sheet & Trailers!
(From ioncinema. 27 April 2007)
Formidable! more (55 total)
| Romane Bohringer | ... | Alice | |
| Vincent Cassel | ... | Max | |
| Jean-Philippe Écoffey | ... | Lucien | |
| Monica Bellucci | ... | Lisa | |
| Sandrine Kiberlain | ... | Muriel | |
| Olivier Granier | ... | Daniel | |
| Paul Pavel | ... | Jeweller | |
| Nelly Alard | ... | Madeleine | |
| Bruno Leonelli | ... | Alain Beccaria | |
| Tateo Isaizaki | ... | Japanese Businessman | |
| Tsuyu Shimizu | ... | Japanese Interpreter | |
| Ricardo Mateo | ... | Cafe Waiter | |
| Vincent Nemeth | ... | Barman | |
| Bruno Fernández Vella | ... | Video Technician | |
| Juan Carlos Martín Alonso | ... | Video Technician | |
| Claude Hirch | ... | Video Technician | |
| Hervé Jakubowicz | ... | Video Sales | |
| Oury Milshtein | ... | Receptionist | |
| Roger Patrice Bernard | ... | Room Service | |
| Vanessa Soboul | ... | Josiane | |
| Sandra Gayarre | ... | Shoe salesperson | |
| Marcel Godot | ... | Hotel Manager | |
| André Haber | ... | Priest | |
| Bruno Ricci | ... | Theatre Actor | |
| Fenia Papadodima | ... | Theatre Actess (as Photini Papadodima) | |
| Edouard Baer | ... | Theatre Actor | |
| Michel Bompoil | ... | Director | |
| Michèle Rème | ... | Theatre Secretary | |
| Jorge Bosch | ... | Bernard | |
| Eva Ionesco | ... | Woman at Travel Agency | |
| Enzo Gallo | ... | Passer-by | |
| rest of cast listed alphabetically: | |||
| Diane Calma | ... | (uncredited) | |
Directed by | |||
| Gilles Mimouni | |||
Writing credits(in alphabetical order) | ||
| Gilles Mimouni | writer | |
Produced by | |||
| Georges Benayoun | .... | producer | |
| Mate Cantero | .... | associate producer | |
| Elisabeth Deviosse | .... | executive producer | |
| Yves Marmion | .... | associate producer | |
| Stéphane Sorlat | .... | associate producer | |
Original Music by | |||
| Peter Chase | |||
Cinematography by | |||
| Thierry Arbogast | |||
Film Editing by | |||
| Caroline Biggerstaff | |||
| Françoise Bonnot | |||
Casting by | |||
| Gigi Akoka | |||
Production Design by | |||
| Philippe Chiffre | |||
Art Direction by | |||
| Philippe Chiffre | |||
Set Decoration by | |||
| Corinne Lafaille | |||
Costume Design by | |||
| Laurence Heller | |||
Makeup Department | |||
| Lourdes Briones | .... | makeup artist | |
| John Nollet | .... | hair stylist | |
| Luca Oblach | .... | head makeup artist | |
Production Management | |||
| Bruno Coulon | .... | unit manager | |
| Patrice Poupard | .... | unit manager | |
| Jacques Scarrone | .... | unit production manager | |
| Ana Vila | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Marta de Benito | .... | assistant director | |
| Hervé Jakubowicz | .... | assistant director | |
| Bernard Pujolar | .... | assistant director | |
| Luc Riff | .... | assistant director | |
Sound Department | |||
| Vincent Arnardi | .... | sound re-recording mixer | |
| Eric Chevallier | .... | sound recordist | |
| Eric Devulder | .... | sound | |
| Thierry Lebon | .... | sound mixer | |
| Stephane Lioret | .... | boom operator | |
| Jacques Thomas-Gérard | .... | sound mixer | |
| Vincent Tulli | .... | sound effects | |
| Ken Yasumoto | .... | assistant sound editor | |
Special Effects by | |||
| Reyes Abades | .... | special effects | |
Camera and Electrical Department | |||
| Gil Fontbonne | .... | key grip | |
| Carlos Parra | .... | electrician | |
Costume and Wardrobe Department | |||
| Laurence Heller | .... | costumes | |
Editorial Department | |||
| Yvan Lucas | .... | color timer | |
| Isabelle Manquillet | .... | trainee assistant editor | |
| Isabelle Proust | .... | assistant editor | |
Flash-back (El apartamento) (Spain)
L'appartamento (Italy)
The Apartment
Квартира (Russia) [ru]
Diamerisma sto kentro tis polis (Greece) [el]
Ha-Dira (Israel: Hebrew title) [iw]
Kohtalokas asunto (Finland) (TV title) [fi]
Lügen der Liebe (Germany) [de]
Leiligheten (Norway) [no]
Liebe und Lügen (Germany) (cable TV title) [de]
Tyttöjen boksi (Finland) (DVD title) [fi]
more
Rated R for some sexuality/nudity.
116 min
UK:15 | USA:R (DVD) | Finland:K-15 (2006) | South Korea:18 | Australia:M
References Rear Window (1954) more
Same kind of woman more
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| Bad Timing | Wicker Park | De battre mon coeur s'est arrêté | Coeurs | Metroland |
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This is an astonishing film: a romantic thriller with a convoluted but perfectly constructed and devastatingly symmetrical plot, brilliantly buttressed by the use of recurring visual motifs. Everything in it is beautifully filmed: the women, the apartments; but more amazing is the devastating juxtapositioning of images, almost every scene has echoes of another. This is a story told in light, in colour, in many almost-parallels. Every time I watch it, it fills me with delight.
The acting is great too. Romane Bohringer is stunning as a woman on the verge of a nervous breakdown: everything about her changes with her mood. Vincent Cassel plays a very different role to his part in La Haine; but no less excellently: shifty and sympathetic at the same time. And Monica Bellucci - ah!, Monica Bellucci, well, put simply, she plays (is?) the world's most perfect woman. There's one small scene about three quarters of the way through where she does nothing more than smile; yet in that instant, says more than hours of Hollywood junk.
One cannot do justice to this film without at least mentioning the superb, sequential climax: sad, shocking, ironic and subtle in turn. But if one moment captures the brilliance of this work, it's the scene at the start of this fabulous denouement, the prospect of which has been teasingly laid before us throughout the entire story. Yet when the moment comes, it is handled so delicately, so briefly, so deftly, that on reflection it makes you gasp. Only a director of staggering confidence would dare to underplay this vital point. But the confidence is justified. Cinema doesn't come much better than this.