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Réalisé par | |||
| Laurent Cantet | |||
Scénaristes(in alphabetical order) | ||
| Robin Campillo | writer | |
| Laurent Cantet | writer | |
| Dany Laferrière | novel "La chair du maître" | |
| Dany Laferrière | short stories | |
Produit par | |||
| Simon Arnal | .... | producer (as Simon Arnal-Szlovak) | |
| Caroline Benjo | .... | producer | |
| Jean-François Casamayou | .... | associate producer | |
| John Hamilton | .... | producer | |
| Barbara Letellier | .... | associate producer | |
| Barbara Letellier | .... | executive producer | |
| Valerie Lonergan | .... | co-producer | |
| David Reckziegel | .... | producer | |
| Carole Scotta | .... | producer | |
Image | |||
| Pierre Milon | |||
Montage | |||
| Robin Campillo | |||
Distribution des rôles | |||
| Constance Demontoy | |||
Création des décors | |||
| Franckie Diago | |||
Création des costumes | |||
| Denis Sperdouklis | |||
Maquillage | |||
| Jennifer Curaba | .... | hair stylist | |
| Jennifer Curaba | .... | makeup artist | |
| Aleja Flores | .... | hair stylist | |
| Aleja Flores | .... | makeup artist | |
| Valérie Fuchs | .... | hair stylist | |
| Valérie Fuchs | .... | makeup artist | |
| Isabel Geraldino | .... | hair stylist | |
| Isabel Geraldino | .... | makeup artist | |
| Marie-Angèle Protat | .... | key hair stylist (as Marie-Angèle Breitner) | |
| Edward St. Hilaire | .... | hair stylist | |
| Edward St. Hilaire | .... | makeup artist | |
| Manuela Taco | .... | key makeup artist | |
Directeur de production | |||
| Jacques Arhex | .... | production manager | |
| Christina Crassaris | .... | post-production supervisor | |
| Jean Guiraud | .... | unit production manager | |
| Victoria Kluge | .... | local production manager | |
| Thibault Mattel | .... | production general manager | |
| Hélène Ross | .... | production manager | |
Assistant réalisateur | |||
| Christelle de Héricourt | .... | assistant director (as Christel de Héricourt) | |
| Ralphy Joseph | .... | assistant director | |
| Vanessa Mujica | .... | second assistant director | |
| Sylvie Peyre | .... | first assistant director | |
Art Department | |||
| Jimmy Astwood | .... | assistant decorator | |
| Sascha Bastaroli | .... | assistant decorator | |
| Jérôme Borras | .... | assistant decorator | |
| Alexander Buonpencieri | .... | assistant decorator | |
| Sylvia Conde | .... | assistant decorator | |
| Ricardo Folch | .... | assistant decorator | |
| Leoncio Franco | .... | assistant decorator | |
| Luis Tapia Llinas | .... | assistant decorator | |
| Yolanda Naranjo | .... | assistant decorator | |
Technicien du son | |||
| Nicolas Becker | .... | foley artist | |
| Valérie Deloof | .... | sound editor | |
| Edouard d'Heucqueville | .... | sound recordist | |
| Assia Dnednia | .... | foley artist (as Assia Zipper) | |
| Jean-Pierre Laforce | .... | sound mixer | |
| Claude La Haye | .... | sound | |
| Didier Lesage | .... | foley recordist | |
| Fred Mays | .... | post-synchronization | |
| Michel Monnier | .... | stereo sound consultant: Dolby (as Michel Monier) | |
| Louis Piche | .... | boom operator | |
| Maëla Prémel-Cabic | .... | sound recordist | |
| Agnes Ravez | .... | sound editor (as Agnès Ravez) | |
| Florian Thiebaux | .... | sound recordist | |
Effets spéciaux | |||
| Rafael Arias | .... | special effects | |
| Kelvin Guzman | .... | special effects | |
Camera and Electrical Department | |||
| Aurélien Gerbault | .... | electrician | |
| Patrick Llopis | .... | grip | |
| Pascale Marin | .... | assistant camera | |
| Pierre Milon | .... | still photographer | |
| Connie Ott | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Marthe Linah Albrecht | .... | costumer | |
| Jean-François Desjardins | .... | costumer | |
| Edwin Duran | .... | costumer | |
| Beryl Jeancard | .... | costumer | |
| Bernadette Schlatter | .... | costumer | |
Editorial Department | |||
| Frédéric Casnin | .... | color grader | |
| Alain Guarda | .... | color grader | |
| Stephanie Leger | .... | assistant editor (as Stéphanie Léger) | |
Music Department | |||
| Vivien Mergot | .... | additional music recordist | |
| Vivien Mergot | .... | music recordist | |
Divers | |||
| Tony Arnoux | .... | press attache | |
| Nicole Lenfant | .... | production administrator | |
| Olivier Pasquier | .... | production accountant | |
| Karin Reckziegel | .... | production accountant: Canada | |
| André-Paul Ricci | .... | press attache | |
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| Novecento | Midnight Cowboy | Edvard Munch | Jimmy and Judy | Pixote: A Lei do Mais Fraco |
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| Full cast and crew | Company credits | External reviews |
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Sex tourism is not a pretty subject, even where, as here, the tourists are attractive middle-aged North American women who have gone to Haiti for some R & R. As the film is based on three short stories by Dany Laferrière, a Haitian writer, we get the Haitian point of view, and not surprisingly at least one local, Albert the hotel manager (Lys Ambroise), does not like what is going on, even though his business depends on it. The gigolos themselves are rather more relaxed, though they have to cope with jealousies between customers and the problem of customers who fall in love with them. However, this is the Haiti of the late 70s, when the dictator "Baby Doc" Duvalier was in power. Hence an air of menace lies over proceedings it may be tropical, but Haiti is no paradise. In fact, this is rather a grim movie.
Proceedings are a little slow, the director Laurent Cantent being addicted to long, static shots, and there is not much in the way of erotic scenes. The resort is not a luxury one, these are not wealthy guests, but the women can buy what they want here. Ellen, the Queen Bee, is outwardly unsentimental about it all but she too becomes emotionally involved with her beach boy. Charlotte Rampling, the vixen for all seasons, plays Ellen with both sensitivity and panache, while Karen Young does a wonderfully self-centred Rachel. She falls in love with the charming Legba (Menthony Cesar), with whom she experienced her first orgasm, at the age of 45, but of course it is a hopeless passion.
I came out with mixed feelings about this film's message. One the one hand, the women are exploiting the young Haitian men, on the other the women are vulnerable and lonely, and non-violent. I'm not at all sure that either side is damaged by the contact, and one of the relationships, between the French Canadian Sue (Louise Portal) and her rather older "boy" seems to be a perfectly healthy one with no illusions on either side. Obviously there are risks for the women (falling in love with the gigolo seems to be the major one) but are they not entitled to some emotional adventure even in staid middle age?