| Anne Borel | ... | Herself | |
| Claude Hébert | ... | Himself | |
| Nicolas Philibert | ... | Himself | |
| Nicole Picard | ... | Herself |
Directed by | |||
| Nicolas Philibert | |||
Produced by | |||
| Serge Lalou | .... | producer | |
| Gilles Sandoz | .... | co-producer | |
Cinematography by | |||
| Katell Djian | |||
Film Editing by | |||
| Nicolas Philibert | |||
Production Management | |||
| Tatiana Bouchain | .... | production manager | |
| Sophie Vermersch | .... | post-production manager | |
Sound Department | |||
| Julien Cloquet | .... | sound editor | |
| Julien Cloquet | .... | sound re-recording mixer | |
| Yolande Decarsin | .... | sound | |
Visual Effects by | |||
| Fred Roz | .... | titles | |
Camera and Electrical Department | |||
| Justine Bourgade | .... | assistant camera | |
| Katell Djian | .... | camera operator | |
| Nicolas Philibert | .... | camera operator | |
Editorial Department | |||
| Thaddée Bertrand | .... | assistant editor | |
| Nicolas Criqui | .... | digital conformation | |
| Raymond Terrentin | .... | colorist | |
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| La môme | Sans toit ni loi | The Brothers Grimm | Cristo si è fermato a Eboli | American Movie |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb France section |
*** This review may contain spoilers ***
Blame Roger Kahn. As a fledgling reporter Kahn was assigned to 'cover' the Brooklyn Dodgers in the early fifties, which meant he travelled with the team, roomed with them from Spring Training through to the end of the season. Thirty years later he thought it might be interesting to find out what had become of the individual players so he sought them out, interviewed them at length and published his findings as The Boys Of Summer, one of the finest books about baseball ever written by anyone anywhere. Thirty years ago Nicolas Philbert was a fledgling filmmaker who worked on a film made on location in Normandy and utilised real natives as opposed to actors to relate the facts of a real triple murder in the nineteenth century. Thirty years later Philbert went back to Normandy to trace the non-actors who appeared in the film and his findings comprise his latest film Back To Normandy. It defies categorization melding travelogue with philosophy, metaphysics and nostalgia into a richly satisfying whole that perhaps falls just a tad short of his wonderful Etre et Avoir which did for the Auvergne what this latest effort does for Normandy. I doubt if it will play many Multiplexes or 'speak' to the bubblegum crowd but that's their loss.