| Agie | ... | L'ourse Blanche | |
| Helmi Dridi | ... | Aguk | |
| Ilian Ivanov | ... | Ao - à neuf ans | |
| Vesela Kazakova | ... | Unak | |
| Sara Malaterre | ... | Wana - la fille d'Ao et d'Aki à quatre ans | |
| Craig Morris | ... | Boorh - un membre du clan d'Ao / Itkio | |
| Aruna Shields | ... | Aki | |
| Simon Paul Sutton | ... | Ao - un Néandertalien dont le clan a été massacré | |
| Yavor Veselinov | ... | Aka |
Directed by | |||
| Jacques Malaterre | |||
Writing credits(in alphabetical order) | ||
| Michel Fessler | scenario & adaptation | |
| Philippe Isard | scenario & adaptation | |
| Marc Klapczynski | book "Ao, l'homme ancien" | |
| Jacques Malaterre | scenario & adaptation | |
Produced by | |||
| Yves Marmion | .... | producer | |
| Patrick Sandrin | .... | executive producer | |
Original Music by | |||
| Armand Amar | |||
Cinematography by | |||
| Sabine Lancelin | |||
Film Editing by | |||
| Jennifer Augé | |||
Production Design by | |||
| Christian Marti | |||
Set Decoration by | |||
| Atanas Apostolov | |||
Costume Design by | |||
| Jean-Daniel Vuillermoz | |||
Makeup Department | |||
| Bérangère Cortaix | .... | special makeup effects artist | |
| Erik Gosselin | .... | special makeup effects artist | |
| Lionel Le | .... | special makeup effects artist | |
| Jacques-Olivier Molon | .... | special makeup effects artist | |
| Pierre Olivier Persin | .... | special makeup effects artist | |
| Aurélie Rameau | .... | makeup artist | |
| Yana Stoyanova | .... | special makeup effects artist: Bulgaria | |
| Kathy Tse | .... | special makeup effects artist | |
| Greta Velikova | .... | makeup artist | |
Production Management | |||
| Jacques Arhex | .... | production manager | |
| Abraham Goldblat | .... | post-production supervisor | |
| Varujan Gumusel | .... | post-production manager | |
| Cécile Navarro | .... | assistant unit manager | |
| Frédéric Sauvagnac | .... | production manager | |
Second Unit Director or Assistant Director | |||
| François Chaillou | .... | first assistant director | |
| Eric Pujol | .... | first assistant director | |
Art Department | |||
| Atanas Apostolov | .... | assistant props on set | |
| Lilith Bekmezian | .... | assistant art director | |
| Atanas Cherkezov | .... | set dresser | |
| Maria Doicheva | .... | painter | |
| Gerard Drolon | .... | first assistant art director (2009) | |
| Benoît Herlin | .... | property master | |
| Frank Pitussi | .... | property master | |
Sound Department | |||
| Nicolas Becker | .... | foley artist | |
| Thomas Gauder | .... | sound re-recording mixer | |
| Pierre-Yves Lavoué | .... | sound mixer | |
| Jean-Luc Verdier | .... | sound | |
| Benjamin Viau | .... | sound recordist | |
| Olivier Walczak | .... | supervising sound editor | |
| Sébastien Wera | .... | sound editor | |
Special Effects by | |||
| Philippe Hubin | .... | special effects | |
| Adrien Morot | .... | department head | |
| Rumen Stoychev | .... | special effects | |
Visual Effects by | |||
| Jerome Auliac | .... | digital compositor | |
| Alain Bignet | .... | digital compositor | |
| Lucie Bories | .... | digital compositor | |
| Emilien Breuillier | .... | visual effects (as Breuillier Emilien) | |
| Eric Carme | .... | visual effects artist | |
| Guillaume Carniato | .... | digital compositor | |
| Anthony Charbonnier | .... | digital compositor | |
| Thierry Delobel | .... | visual effects supervisor | |
| Pierre Genin | .... | visual effects | |
| Pierre Gosset | .... | senior compositor | |
| David Gourmaud | .... | visual effects editor | |
| Aurélien Grand | .... | retouch and restoration | |
| Thibaut Granier | .... | visual effects | |
| Aurelie Lajoux | .... | senior compositor | |
| Thomas Lefebvre | .... | digital compositor | |
| Jean-Francois Michelas | .... | digital compositor | |
| Fredrik Monteil | .... | digital compositor | |
| Vincent Papaix | .... | digital compositor: Duran Duboi | |
| Joel Pinto | .... | digital compositor | |
| Elisa Pretta | .... | digital compositor | |
| Julien Record | .... | digital compositor | |
| Nicolas Rigaud | .... | lead compositing artist | |
| Laurent Ripoll | .... | visual effects editor | |
| Aurore Rousset | .... | animator | |
| Niranjan Siva | .... | digital compositor | |
| Rossi Sébastien | .... | visual effects artist | |
| Christian Tomikowski | .... | digital compositor | |
| Marion Voignier | .... | digital compositor | |
| Virginie Wintrebert | .... | visual effects coordinator | |
Camera and Electrical Department | |||
| David Camus | .... | grip | |
| Benoit Dentan | .... | aerial camera operator | |
| Arnaud Gervet | .... | second assistant camera | |
| Mathieu Giombini | .... | camera operator | |
| Hristo Idakiev | .... | electrician | |
| Océane Lavergne | .... | additional focus puller | |
| Maud Lemaistre | .... | b camera: first assistant | |
| Rémi Mestre | .... | second assistant camera | |
| Patrick Plaize | .... | still photographer | |
| Philippe Ramdane | .... | first assistant camera | |
| Frédéric Serve | .... | camera operator: "b" camera | |
| Marc Wolff | .... | camera pilot | |
Costume and Wardrobe Department | |||
| Anna Gelinova | .... | costume supervisor | |
Editorial Department | |||
| Arnaud Caréo | .... | on-line editor | |
| Christian Dutac | .... | color timer | |
| Natacha Louis | .... | colorist | |
| Fabien Napoli | .... | colorist: dailies | |
Music Department | |||
| Camille Adrien | .... | orchestrator | |
| Elise Luguern | .... | music supervisor | |
| Sylvain Morizet | .... | arranger | |
| Sylvain Morizet | .... | orchestrator | |
Other crew | |||
| Vincent Allard | .... | location manager: summer | |
| Louise Arhex | .... | script supervisor | |
| Sandra Cornevaux | .... | press attache | |
| Claude Dallet | .... | production administrator | |
| Olga Gorvat | .... | location manager: Ukraine | |
| Marie Malaterre | .... | production secretary | |
| Gianni Manno | .... | titles designer | |
| Marylène Patou-Mathis | .... | technical adviser | |
| Thomas Philip | .... | location manager | |
| Alexandra Schamis | .... | press attache | |
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| Bayan ko: Kapit sa patalim | The Abandoned | Deux frères | Gone with the Wind | The Colt |
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| Full cast and crew | Company credits | External reviews |
| IMDb History section | IMDb France section |
Jacques Malaterre, a maker of TV fiction (mainly TV films and series episodes), discovered prehistory and more generally speaking - the history of man - when he was chosen to direct the highly successful documentary "L'odyssée de l'espèce" (2003). He was so captivated by the matter he was assigned to explore that he gradually became a specialist of the subject himself. With the help of famed paleoanthropologist Yves Coppens as a co-writer and scientific adviser he also directed "Homo Sapiens" (2005) and "Le sacre de l'homme" (2009). So it is hardly surprising to see him further explore his favorite subject in a new work, the difference this time being that he has chosen the big screen to express himself in preference to television.
"Ao, le dernier Neandertal", which illustrates the thesis (confirmed by recent discoveries based on DNA analysis) that some Neandertal and Homo Sapiens had offspring together) undoubtedly benefits from this change of scope, which does not mean that it is the best in Malaterre's four-installment saga. Very spectacular indeed, the film has epic qualities when it comes to Ao's struggle for survival in all weather conditions, aesthetic assets when it describes the beauty and cruelty of nature of wild life. And actor Simon Paul Sutton is very believable as Ao, the desperate creature who sees all the members of his clan die around him, managing to express his feelings mostly through looks, grunts and body language. Which is some kind of a feat. Last but not least is the creation of a consistent specific language (that the viewer does not understand with the exception of one or two words). Too bad then that Malaterre resorted to a commentary in modern language to explain exactly what happens. Jean-Jacques Annaud had been able to do without such an expedient in his amazing "Guerre du feu".
On the other hand, for all the modernity of its scientific approach, the film is nothing else but a boy meets girl story, complete with the usual clichés: boy and girl don't get on/ love is born/ and they live happily ever after. Worse, the female lead, Aruna Shields, is too pretty to be true. Luckily, her acting is good, which partly compensates for the initial mistake, but you need a good dose of suspension of disbelief to really come into this aspect of the story.
Despite this weak point, "Ao" remains worth watching. Even if a few details leave to be desired, you really feel you are living a long long time ago constantly asking yourself whether YOU could have survived in such a hostile environment. This is enough to justify the price of your movie ticket, I think.