| Zachary Knighton | ... | Seymour | |
| Anna Mouglalis | ... | Melania | |
| Marc Barbé | ... | Roscoe | |
| Zsolt Nagy | ... | Boyan | |
| Raoul Dantec | ... | The french man | |
| Vladimir Zintov | ... | Hired man | |
| Georgi Kadurin | ... | The sad man | |
| Simona Huelsemann | ... | Prostitute 1 | |
| Salvador Gueorguiev | ... | Boyan's man 1 | |
| Ivan Velichkov | ... | Boyan's man 2 | |
| Peter Petrov | ... | Boyan's man 3 | |
| Diana Gerova | ... | Prostitute 2 | |
| Bojka Velkova | ... | Boyan's wife | |
| rest of cast listed alphabetically: | |||
| Josh Pearson | |||
Directed by | |||
| Philippe Grandrieux | |||
Writing credits(in alphabetical order) | ||
| Philippe Grandrieux | ||
| Eric Vuillard | ||
Produced by | |||
| Pierre Benque | .... | producer | |
| Catherine Jacques | .... | producer | |
| Emmanuel Schlumberger | .... | producer | |
Original Music by | |||
| Étant Donnés | |||
Cinematography by | |||
| Stéphane Fontaine | |||
Film Editing by | |||
| Françoise Tourmen | |||
Casting by | |||
| Kerry Barden | |||
| Frédérique Moidon | |||
| Ilka Valcheva | |||
Costume Design by | |||
| Ann Dunsford | |||
Makeup Department | |||
| Laurent Bozzi | .... | hair stylist | |
| Geraldine Garetier | .... | key makeup artist | |
Second Unit Director or Assistant Director | |||
| Amine Mestari | .... | assistant director | |
| Philippe Tourret | .... | first assistant director | |
Art Department | |||
| Atanas Cherkezov | .... | property master | |
Sound Department | |||
| Mélanie Blouin | .... | sound mixer trainee | |
| Valérie Deloof | .... | sound editor | |
| Jacques Descomps | .... | recorder | |
| Christophe Gagnot | .... | post-production sound | |
| Vincent Montrobert | .... | dialogue editor | |
| Jean-Paul Mugel | .... | sound | |
| Stéphane Thiébaut | .... | sound | |
Stunts | |||
| Etienne Duplan | .... | stunts | |
| Didier Dupré | .... | stunts | |
Camera and Electrical Department | |||
| Xavier Cholet | .... | gaffer | |
| Philippe Grandrieux | .... | camera operator | |
| Corrine Oréal | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Janet Latimer | .... | costumer | |
Editorial Department | |||
| Isabelle Julien | .... | color timer | |
| Jérome Pey | .... | assistant editor | |
Other crew | |||
| Christophe Besnard | .... | assistant to producer | |
| Tatiana Bouchain | .... | assistant to producer | |
| Mila Gueorguieva | .... | production assistant | |
| Annick Lemonnier | .... | script supervisor | |
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| Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence | Ten Minutes Older: The Cello | Mister Lonely | Hitler - ein Film aus Deutschland | Ixe |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
Premiered in 2002, Philippe Grandrieux's controversial second feature film La Vie Nouvelle opens a new type of experimentation with form while at the same time challenging the viewer's tolerance. This film is not used as a means to reflect, but a device probing deeply into the desires and states of mind of the characters. Grandrieux's usual styles - shaky images, techno music, and impulsive camera position (for viewers to approximate the characters' complex and intense emotions) remain. Sex scenes are often shown in darkness and even infra-red, leading the viewer to ponder upon the suggested but unseen violence.
Contrary to the forward-looking title, the new life is a bleak one. At a brothel-like hotel in an East European city, the young American soldier Seymour (Zach Knighton) encounters and becomes obsessed with the prostitute Mélania (Anna Mouglalis). After an initiatory traumatic hair cutting scene, the human trafficker Boyan transforms Mélania into a commodity (she is carried around like a piece of weightless luggage). In this degraded urban space, men's bestiality merges with that of dogs. It is the disfigured bodies and gestures, instead of usual conversation or screams, that depicts the horror. The sensitive Seymour eventually attempts to purchase Mélania outright. Signing a pact with Mélania's infamous master, Seymour is left with a handsome price to pay.
This is a love it or hate it auteur film about control, evilness, objectified bodies, internalised fear, and extreme cinematic expression, with morally-suspect moments bound by Grandrieux's highly perceptive vision and atmospheric images.