| Fotos (ver todos los 36 | slideshow) | Videos |
| Ethan Hawke | ... | Jesse | |
| Julie Delpy | ... | Celine | |
| Vernon Dobtcheff | ... | Bookstore Manager | |
| Louise Lemoine Torres | ... | Journalist #1 | |
| Rodolphe Pauly | ... | Journalist #2 | |
| Mariane Plasteig | ... | Waitress | |
| Diabolo | ... | Philippe | |
| Denis Evrard | ... | Boat Attendant | |
| Albert Delpy | ... | Man at Grill | |
| Marie Pillet | ... | Woman in Courtyard |
Dirigida por | |||
| Richard Linklater | |||
Créditos del guión(WGA) | ||
| Richard Linklater | (screenplay) & | |
| Julie Delpy | (screenplay) & | |
| Ethan Hawke | (screenplay) | |
| Richard Linklater | (story) & | |
| Kim Krizan | (story) | |
| Richard Linklater | (characters) & | |
| Kim Krizan | (characters) | |
Producida por | |||
| Isabelle Coulet | .... | co-producer | |
| Richard Linklater | .... | producer | |
| John Sloss | .... | executive producer | |
| Anne Walker-McBay | .... | producer | |
Fotografía por | |||
| Lee Daniel | (director of photography) | ||
Montaje por | |||
| Sandra Adair | |||
Diseño de producción por | |||
| Baptiste Glaymann | |||
Diseño de vestuario por | |||
| Thierry Delettre | |||
Departamento de maquillaje | |||
| Anne Bourdiol | .... | key hair stylist | |
| Anne Bourdiol | .... | key makeup artist | |
| Elisa Costa | .... | makeup artist: additional crew (as Elisa Costa Ellis) | |
| Terri Ewton | .... | press junket: key hair stylist | |
| Terri Ewton | .... | press junket: key makeup artist | |
Dirección de producción | |||
| Jean-Marc Abbou | .... | unit production manager | |
| Sara Johnson | .... | post-production supervisor | |
Ayudante de dirección | |||
| Roxane Andreani | .... | second assistant director | |
| Jerome Borenstein | .... | first assistant director | |
| Ariane Lacan | .... | third assistant director | |
Departamento de Arte | |||
| Mika Cotellon | .... | set dresser: additional crew | |
| Soasig Le Ruyet | .... | art department trainee | |
| Laid Liazid | .... | set dresser: additional crew | |
| Régis Mayot | .... | construction manager: additional crew (as Regis Mayot) | |
| Cyril Mignot | .... | set dresser | |
| Karine Bakala Pindoux | .... | painter: additional crew | |
| Frank Pitussi | .... | stand-by props | |
| Francois Poublan | .... | set dresser | |
| Gaelle Renard-Werner | .... | property buyer (as Gaele Renard Werner) | |
Departamento de sonido | |||
| Gregg Barbanell | .... | foley artist | |
| Bernard Bats | .... | sound mixer | |
| Wayne Bell | .... | sound effects editor | |
| Larry Blake | .... | sound re-recording mixer | |
| Pierre-Yves Bruneel | .... | boom operator | |
| Ajae Clearway | .... | dialogue editor | |
| Matt Coby | .... | mix assistant: Swelltone | |
| Jay Gallagher | .... | mix assistant: Swelltone | |
| Tom Hammond | .... | sound re-recording mixer | |
| Tom Hammond | .... | supervising sound editor | |
| Justin Hennard | .... | foley editor | |
| Bobby Johanson | .... | adr mixer | |
| Jason Piatt | .... | foley mixer | |
| Matthieu Tartamella | .... | sound trainee | |
Visual Effects | |||
| Ryan Beadle | .... | digital I/O | |
| R.J. Harbour | .... | digital compositor | |
| Lori C. Miller | .... | digital compositor | |
Departamento de reparto | |||
| Christophe Canavaggio | .... | casting assistant | |
| Annette Trumel | .... | casting: Paris | |
Departamento de vestuario | |||
| Michel Louzon | .... | textile artist: additional crew | |
| Marie Trimouille | .... | set costumer | |
Departamento de Edición | |||
| Michelle Fairbanks | .... | editorial intern | |
| Mo Henry | .... | negative cutter | |
| Allegra Kolber | .... | editorial intern (as Allegra McCoy) | |
| David Orr | .... | color timer | |
| Nevie Owens | .... | assistant editor | |
Departamento de Música | |||
| Igor Kipnis | .... | musician: piano for "Goldberg Variation, Nr. 25" | |
| Christopher S. Parker | .... | music clearances | |
| Randall Poster | .... | music consultant | |
Departamento de Transporte | |||
| Mika Cotellon | .... | driver: additional crew | |
| Philippe Crepet | .... | transportation: trailers | |
| Johan Graslin | .... | transportation: trailers, additional crew | |
| Steven Lasson | .... | transportation: trailers, additional crew | |
| Laid Liazid | .... | driver: additional crew | |
| Philippe Mayer | .... | transportation: trailers | |
| Cyril Mignot | .... | driver | |
| Francois Poublan | .... | driver | |
Gracias | |||
| Carley Hodgkinson | .... | special thanks: Adbusters Magazine | |
| Sylvia Whitman | .... | special thanks: Shakespeare Bookstore | |
| Véronique Zimmer | .... | special thanks: ESEC (as Veronique Zimmer) | |
| Recent Posts (updated daily) | User |
|---|---|
| Name of Park? | barbara_brooker |
| Men Need Love | blankly |
| Waking Life | steve-246 |
| the acting was so natural. improv'd? | dcorpu2 |
| Jesse's Book | Brain_Of_Wombat |
| what else? | MikeyBabyBooBop |
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| Before Sunrise | Love Actually | Le scaphandre et le papillon | American Dreamer | La science des rêves |
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IMDb Calificación de los usuarios:
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| Reparto y Personal Completos | Créditos de la compañía | Críticas externas |
| IMDb Drama section | IMDb USA section | Add this title to MyMovies |
Finally, Linklater does something with his talent. His strength in the past has been to shape the form of his films to match the subject. At least that's been true when the subject is the tentativeness of existence.
He's done well enough in the past, but since his characters were aimless his projects inherited a meaninglessness. Where he tried to impart introspective layers with "Waking Life," those layers were trite threads of fake profundities. Well, never mind. Artists aren't required to be particularly smart even about who they are and what they do.
What is required is the ability to discover and convey something that resonates. Usually in films the resonance is a sort of nervous recognition in the characters and situation. Sometimes, the manner of the film, the nature of the world presented is enough to engage. Such is the value of Kieslowski and how he managed Delpy.
This film tries something different, something commonly attempted and almost never achieved: the direct drama of discovery between two people. This hosts the construction not in any story or setting or even situation, though they are all employed in the service of the goals. Instead, the whole thing revolves around the tentative motions toward intimacy between two people.
Why this usually fails is because of the unwieldy mechanics. In order to seem real (most reviewers call this film "veristic") the dramatic projection has to be hyperreal, but not so much that it appears artificial. So how do you dramatically amplify lightly probing intimacies? Its all in the most subtle hesitations of the actors, in that range beyond what "really" might happen and them forthrightly telling us what's happening.
The construction is perfect: all movies are about other movies. In this case, we literally have the last chapter of the romance as a movie with movie values and memories. More, those are romantically captured in a book that one character carries from the previous movie into this one. Thus, all their discussion, all their reluctances are about having the present film approach the previous one.
I'm astonished at the perfection of the idea, as astonished as I am about how well the two, especially Delpy, support it. This is delicate stuff.
Ted's Evaluation -- 3 of 3: Worth watching.