Tournée (2010)

Director:

Mathieu Amalric

Writers:

Mathieu Amalric
Marcelo Novais Teles
(more)

Release Date:

30 June 2010 (Belgium)

Genre:

Comedy | Drama

Plot Keywords:

Makeup | Nightclub Act | Cabaret Number | Gas Station | Stolen Clothes

Awards:

3 wins & 8 nominations

Cast

Miranda Colclasure	...	Mimi Le Meaux
Suzanne Ramsey	...	Kitten on the Keys
Dirty Martini	...	Dirty Martini (as Linda Marraccini)
Julie Atlas Muz	...	Julie Atlas Muz (as Julie Ann Muz)
Angela de Lorenzo	...	Evie Lovelle
Alexander Craven	...	Roky Roulette
Mathieu Amalric	...	Joachim Zand
Damien Odoul	...	François
Ulysse Klotz	...	Ulysse
Simon Roth	...	Baptiste
Joseph Roth	...	Balthazar
Aurélia Petit	...	Fille de la station service
Antoine Gouy	...	L'homme aux progiciels
Pierre Grimblat	...	Chapuis
Jean-Toussaint Bernard	...	Réceptionniste hôtel(s)
Anne Benoît	...	La caissière du supermarché
Florence Ben Sadoun	...	La femme à l'hôpital
Erwan Ribard	...	Le commissaire
Julie Ferrier	...	Julie Ferrier
Franzo Curcio	...	Le directeur de théâtre
André S. Labarthe	...	Le patron du cabaret
Jean-François Marquet	...	Le journaliste
Laurent Roth	...	Le commandant de bord
Alexia Crisp-Jones	...	L'hôtesse de l'air
Hélène Houël	...	La serveuse de l'hôtel Mercure
Feriel	...	La danseuse orientale
Erick Lenoir	...	Le patron du café flipper
Xavier Pottier	...	Le type en livraison

Directed by
Mathieu Amalric

Writing credits (in alphabetical order)
Mathieu Amalric
Philippe Di Folco
Tom Frank		translation (as Thomas Guillou)
Marcelo Novais Teles
Raphaëlle Valbrune

Produced by
Rémi Burah	....	co-producer
Yael Fogiel	....	producer
Laetitia Gonzalez	....	producer
Petra Hengge	....	co-producer
Alexander Ris	....	co-producer

Cinematography by
Christophe Beaucarne

Film Editing by
Annette Dutertre

Casting by
Francesco Curcio

Art Direction by
Stéphane Taillasson		(art direction)

Costume Design by
Alexia Crisp-Jones

Makeup Department
Delphine Jaffart	....	makeup artist

Production Management
Frédéric Blum	....	production manager
Nicolas Carchenilla	....	assistant production
Eric Duriez	....	post-production supervisor
Varujan Gumusel	....	post-production manager
Vincent Lefeuvre	....	unit manager
Arnaud Marcon	....	assistant production manager
Laurent Perrot	....	assistant unit manager
Lola Pion	....	assistant unit manager
Julien Rambaud	....	assistant unit manager
Nathalie Vallet	....	production manager

Second Unit Director or Assistant Director
Elsa Amiel	....	first assistant director
Franklin Ohanessian	....	second assistant director

Art Department
Claire Massard	....	assistant art director
Christophe Offret	....	property master
Christophe Offret	....	props
Matthieu Scavazza	....	assistant art director
Romain Scavazza	....	assistant art director

Sound Department
Leo Banderet	....	sound assistant
Rémy Crouzet	....	dialogue editor
Séverin Favriau	....	sound editor
Gautier Isern	....	second sound assistant
Olivier Mauvezin	....	sound
Fred Mays	....	post-synchronisation
Antoine Mercier	....	sound assistant
Pierre Picq	....	boom operator
Hubert Teissedre	....	foley mixer
Hubert Teissedre	....	post-synchronization mixer
Stéphane Thiébaut	....	sound re-recording mixer

Camera and Electrical Department
Julien Covens	....	key grip
Vanessa Guez	....	assistant camera
Jean-Pierre Lacroix	....	gaffer
Luc Pallet	....	first assistant camera
Gwendal Quistrebert	....	electrician
Jean-Pierre Voisin	....	electrician

Casting Department
Franzo Curcio	....	extras casting

Costume and Wardrobe Department
Alexia Crisp-Jones	....	key costumer
Sylvie Néant	....	costumer

Editorial Department
Caroline Detournay	....	assistant editor
Christian Dutac	....	color timer: LTC
Reginald Gallienne	....	digital color grader

Music Department
Elise Luguern	....	music supervisor

Other crew
Juliette Caron	....	french subtitles by
Tom Frank	....	screenplay translator (as Thomas Guillou)
Peggy Plessas	....	dialogs
Élodie Van Beuren	....	script supervisor

Thanks
William Friedkin	....	thanks
Kathleen Kennedy	....	thanks

Production Companies

• Les Films du Poisson
• Neue Mediopolis Filmproduktion (co-production)
• arte France Cinéma (co-production)
• WDR / Arte (co-production)
• Le Pacte (co-production)
• Film(s) (co-production)
• Centre National de la Cinématographie (CNC) (participation)
• Filmförderungsanstalt (FFA) (participation)
• Canal+ (participation)
• CinéCinéma (participation)
• Région Haute-Normandie (support)
• Pôle Image Haute-Normandie (in association with)
• Conseil Régional des Pays de la Loire (in association with)
• Région Poitou-Charentes (in association with)
• Département de la Charente-Maritime (in association with)
• Sofica Europacorp (in association with)
• Coficup (in association with)
• Backup Films (funding)
• Programme MEDIA de la Communauté Européenne (support)
• Procirep (support)

Distributors

• Atlantis Entertainment (2011) (Czechoslovakia) (theatrical)
• C&I Entertainment (2011) (Japan) (theatrical)
• Feelgood Entertainment (2010) (Greece) (theatrical)
• Le Pacte (2010) (France) (theatrical)
• Magic Hour (2011) (Japan) (theatrical)
• Cinema Mondo (2010) (Finland) (all media)
• Clap - Produção de Filmes (2011) (Portugal) (all media)
• Imovision (2010) (Brazil) (all media)
• Lighthouse Home Entertainment (2012) (Germany) (DVD)

Also Known As:

"On Tour" - International (English title)
"Турне" - Russia
"Kiertue" - Finland (imdb display title)
"Tournée" - Poland (imdb display title)
"Tournée - Em Digressão" - Portugal (imdb display title)
"Tourne sto Parisi" - Greece (imdb display title)
"Tournee: Il Vero Burlesque" - Italy (imdb display title)
"Turné" - Hungary (imdb display title)
"Turnê" - Brazil (imdb display title)
"Turneja" - Slovenia (imdb display title)

Runtime:

111 min

Country:

France

Language:

French | English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Portugal:M/16 | Singapore:R21 | Japan:R15+ | South Korea:18 | France:U

Filming Locations:

Ile d'Aix, Charente-Maritime, France

Company:

Les Films du Poisson

Entertaining mess

To many, Mathieu Amalric was the bad guy in Quantum of Solace (Marc Forster, 2008), but most familiar with his name will recall his outstanding portrayal of Elle editor Jean-Dominique Bauby in The Diving Bell and the Butterfly (Julian Schnabel, 2007). Small parts in Munich (Steven Spielberg, 2005) and Marie Antoinette (Sofia Coppola, 2006) support the idea that Amalric's bound to have made it – to some extent – in Hollywood by now. This may be the source of the trashy and (at times) visceral swipes at the American culture, that fuel much of his first internationally distributed feature On Tour.

Joachim (Amalric) invites a group of burlesque dancers are over from the States to tour with him around his homeland, whereby they are promised an almighty, star-spangled crescendo in Paris. These women are all shapes and sizes: 'real women' we're often told to imagine in the media backlash against stick-thin-supermodels. The performances within certainly feel real. Amalric's camera seems to be a claustrophobic one, that never shys away from the lines and creases of these performers (perhaps an idea carried over from his Diving Bell... role). And yet he knows when to back off and let the audience take their place amongst the paying spectators in his fictional theatre. At best, the viewer is awestruck at the harmonisation of vulgarity of spectacle and beauty (epitomised in Julie Atlas Muz's 'moonhead' dance).

Fellini comparisons are understandable: the film is rife with references to La Strada (1954), La Dolce Vita (1960), and most notably 8 ½ (1963). We meander from one place to another, meeting past and future conquests, and picking up plot lines along the way. They're never just dropped though, and the intensity and style Amalric offers strikingly well in acting is carried through into his filmmaking. What at first seem like transparent, garish, has-been beauties, do in fact transform into characters worthy of understanding, to the extent that Mimi le Meaux (Miranda Colclasure) becomes as much the protagonist as Amalric by half-way. This owes much to the documentary style of the film, whereby the viewer is omniscient throughout. We're there for the warm-up, the laziness, the meals, the performance, the disappointing cubicle sex. The omniscient spectator is granted access to everything. Make of it what we will. Amalric directs and stars, and his acting is thoroughly melodramatic too, as he battles to be part of the limelight we find out he's recently lost due to his tearaway instincts – in this way he very much resembles the Mastroianni of Fellini. But these women who want the limelight ("this is our show" he's constantly reminded) disrupt the chances of him ever running the show. Amalric, in a very roundabout way – like Boyle in 127 Hours (2010) - seems to be highlighting the impossibility of going it alone.

The film is a mess. But an entertaining mess. In context, it wouldn't make sense any other way.