| Juliette Binoche | ... | Ana | |
| Liron Levo | ... | Uli | |
| Jeanne Moreau | ... | Françoise | |
| Barbara Hendricks | ... | Barbara | |
| Dana Ivgy | ... | Dana | |
| Hiam Abbass | ... | Hiam | |
| Tomer Russo | ... | Tomer | |
| Israel Katorza | ... | Israel | |
| Yussuf Abu-Warda | ... | Youssef | |
| Uri Klauzner | ... | Uri | |
| Amos Gitai | ... | Dani | |
| Verena Mundhenke | ... | Mimi | |
| Roni Weisman | |||
| Rachela Nisanov | |||
| Meir Shimoni | |||
| Vered Rozenblat |
Directed by | |||
| Amos Gitai | |||
Writing credits(in alphabetical order) | ||
| Amos Gitai | ||
| Marie-Jose Sanselme | ||
Original Music by | |||
| Simon Stockhausen | |||
Cinematography by | |||
| Christian Berger | |||
Film Editing by | |||
| Isabelle Ingold | |||
Casting by | |||
| Ilan Moscovitch | |||
Production Design by | |||
| Emmanuel de Chauvigny | |||
| Tim Pannen | |||
| Eli Zion | |||
Costume Design by | |||
| Moïra Douguet | |||
Makeup Department | |||
| Cédric Gérard | .... | makeup artist | |
Production Management | |||
| Fabrice Chevrollier | .... | production manager: France | |
| Viola Fügen | .... | post-production supervisor | |
| Christian Heinz | .... | unit manager: Germany | |
| Elke Sasserath | .... | production manager germany | |
Second Unit Director or Assistant Director | |||
| Denis Gerault | .... | first assistant director: France, Germany | |
| Corinne Le Hong | .... | second assistant director | |
| Shir Shoshani | .... | second assistant director | |
Art Department | |||
| Tim Pannen | .... | production design: Germany | |
Sound Department | |||
| Roland Duboué | .... | dialogue editor | |
| Séverin Favriau | .... | sound editor | |
| John Iranzo | .... | boom operator | |
| Nikolas Javelle | .... | sound editor | |
| Micki Joanni | .... | synchron editor | |
| Michel Kharat | .... | sound | |
| Oded Ringel | .... | sound editor | |
| Stéphane Thiébaut | .... | sound re-recording mixer | |
| Pascal Villard | .... | sound designer | |
| Pascal Villard | .... | sound editor | |
Visual Effects by | |||
| Thomas Menz | .... | title animator: CinePostproduction GmbH | |
| Phillipp Sauermann | .... | digital artist | |
Camera and Electrical Department | |||
| Gerald Helf | .... | first assistant camera | |
| Kimber Lee Jerrett | .... | gaffer | |
| Christian Kitscha | .... | camera focus: "b" camera | |
| Christian Kitscha | .... | second assistant camera | |
Costume and Wardrobe Department | |||
| Moïra Douguet | .... | wardrobe designer | |
Thanks | |||
| Dominique Besnehard | .... | thanks | |
| Maxime Delauney | .... | thanks | |
| Recent Posts (updated daily) | User |
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| Dana's father (spoilers) | jhailey |
| DVD RELEASE!! | radames-1 |
| poem recited by Arab man as Binoche walks by fence | e2shatter2 |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Germany section |
The movie starts with a long conversation that seems written solely to enable a character to complain that the Arabs of Palestine are not recognized as a distinct nation although (contends this character, who is never seen again) they have been one for hundreds of years. It continues with a long interlude of existential/claustrophobic drama in a large house in Avignon occupied by the fresh corpse of an old professor, his frequently and unaccountably merry daughter, and his adopted son from Israel, with whom the daughter flirts. This interlude fails perhaps because the actors seldom have a line in their native language and therefore can't summon up the mojo to give the cryptic relationships interest. Then it appears that according to the old man's will, to which the daughter unsuccessfully tries to forge a change, the daughter must now go visit her own abandoned daughter who lives in Gaza in a Jewish settlement which the son already has military orders to coincidentally, at the very same time, go help dismantle. The dismantling of the settlement, re-enacted up the coast at Nitzanim, looks reasonably realistic, at least if you judge by the news footage of the time. A fairly large troupe of bit players does justice to the soldiers and the settlers, and the camera conveys the atmosphere well. As the old man's daughter meets her own daughter and they, at least briefly, lose one another again during the evacuation, is their relationship supposed to symbolize something about the political situation? Or vice versa? What do the scenes in Gaza have to do with the matters raised in the Avignon scenes? A viewer is tempted to think that perhaps Gaza was introduced for no reason but to link an otherwise boring and incomplete movie to a hot item from the recent news pages.