| Isabelle Huppert | ... | La mère | |
| Gaspard Ulliel | ... | Joseph | |
| Astrid Bergès-Frisbey | ... | Suzanne | |
| Randal Douc | ... | Monsieur Jo | |
| Vanthon Duong | ... | Le caporal | |
| Stéphane Rideau | ... | Agosti | |
| Lucy Harrison | ... | Carmen | |
| Doeun Thenn Nan | ... | M. Khing | |
| Chorn Solyda | ... | Le père Sok (as Solida Chorn) | |
| Ingrid Mareski | ... | La femme de Pierre | |
| Louis Arsac | ... | Pierre | |
| Rosa Meas | ... | A'chan | |
| Mang Son | ... | A'sok | |
| Phén Vann | ... | Le chef du village | |
| Jean-Pol Brissart | ... | M. Bideau | |
| Samuel Bartholin | ... | M. Jouve | |
| Cédric Eeckhout | ... | Jeune agent du cadastre | |
| Cédric Salze | ... | L'agent du cadastre | |
| Philippe Garcia | ... | Le capitaine français | |
| Emmanuel Collineau | ... | Le sergent français | |
| Reaksmei Sorya | ... | La femme du caporal | |
| Chantoun Kien | ... | Le chauffeur de M. Jo | |
| Sophie Provoost | ... | La femme française élégante | |
| Heylen Unac | ... | La deuxième femme française | |
| Robert Monet | ... | Le civil français | |
| Narith Roeun | ... | Le milicien au porte-voix | |
| André Couderchet | ... | Le passager | |
| Poline Sok | ... | Le bagnard | |
| Vincent Grass | ... | Le père Bart |
Directed by | |||
| Rithy Panh | |||
Writing credits(in alphabetical order) | ||
| Marguerite Duras | novel | |
| Michel Fessler | writer | |
| Rithy Panh | writer | |
Produced by | |||
| Cati Couteau | .... | producer | |
| Catherine Dussart | .... | producer | |
| Genevieve Lemal | .... | co-producer | |
| Alexandre Lippens | .... | executive producer | |
Original Music by | |||
| Marc Marder | |||
Cinematography by | |||
| Pierre Milon | |||
Film Editing by | |||
| Marie-Christine Rougerie | |||
Production Design by | |||
| Yan Arlaud | |||
Costume Design by | |||
| Edith Vesperini | |||
Makeup Department | |||
| Judith Gayo | .... | makeup artist | |
| Antonella Prestigiacomo | .... | key hair stylist | |
Production Management | |||
| Anne Farrer | .... | unit production manager | |
| Pierre Wallon | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Pascal Guérin | .... | first assistant director | |
| Leslie Gwinner | .... | second assistant director | |
Art Department | |||
| Hélène Imbert | .... | head painter | |
| Sreyra In | .... | art department coordinator | |
Sound Department | |||
| Marc Bastien | .... | sound editor | |
| François Dumont | .... | dialogue editor | |
| Thomas Gauder | .... | sound re-recording mixer | |
| Pierre Mertens | .... | sound | |
| Olivier Thys | .... | assistant foley artist | |
| Philippe van Leer | .... | foley artist | |
Special Effects by | |||
| Grégoire Delage | .... | special effects technician | |
| Charles-Axel Vollard | .... | special effects supervisor | |
Visual Effects by | |||
| Benjamin Ageorges | .... | visual effects supervisor | |
| Stephane Bidault | .... | visual effects supervisor | |
| Nicolas Delbecq | .... | digital effects artist | |
| Bruno Nicolas | .... | digital artist | |
| Bes Paul-Emmanuel | .... | digital artist | |
Costume and Wardrobe Department | |||
| Marie Rospabe | .... | wardrobe | |
Editorial Department | |||
| Mathias Bouffier | .... | assistant editor | |
| Mathilde Delacroix | .... | color timer | |
Music Department | |||
| Agnès Sénémaud | .... | lyricist | |
Other crew | |||
| Marie de Calan | .... | production assistant | |
| Géraldine Depardon | .... | script supervisor | |
| Laurence Granec | .... | press attache | |
| Karine Ménard | .... | press attache | |
| Édith Pavageau | .... | production administrator | |
| Recent Posts (updated daily) | User |
|---|---|
| Has Anyone Seen This Film? | samuelloveshuppert |
| The story saves the watch | deadcandance-3 |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
This is a costume drama of solid but very routine production values. The theme is anti-colonialism. The French colonial authorities are shown as corrupt and oppressive and the colonist family at the centre of the narrative is economically hopeless and morally degenerate. Isabelle Huppert is a slightly crazy and clueless head of a family whose only assets reside in the sexual allure of its teenage son and daughter. These assets are exploited in an attempt to save the family's fortunes. They are an unlikeable bunch although some nuance is generated by Huppert who injects a little humanity into her character. The film feels slow-paced and over long and do we really need another anti-colonial tract?