Till Death Do Us Part
Synopsis
They’ve been close for years. In Estaque, trapped between the refineries and the sea, a cabaret is their refuge. There’s Venus, a drug-addict prostitute, Farid, a homeless orphan, José, Patrick and Jaco, who’ve been out of work forever, Marie-Sol who, despite her fervent prayers, can’t manage to have a baby... They try to keep on loving, as generous as they come...
Credits
Director (1)
Actors (12)
Production and distribution (2)
- Executive Producer : Agat Films - Ex nihilo
- French distribution : Pierre Grise Distribution
Full credits (13)
- Screenwriters : Robert Guédiguian, Jean-Louis Milesi
- Director of Photography : Bernard Cavalié
- Assistant Director : Jacques Reboud
- Editor : Bernard Sasia
- Sound Recordist : Laurent Lafran
- Costume designer : Michel Vandestien
- Sound Assistant : Pierre Tucat
- Assistant Operator : Olivier Ide
- Production Manager : Malek Hamzaoui
- Press Attaché (film) : Marie-Christine Damiens
- Assistant editor : Valérie Meffre
- Production Designer : Michel Vandestien
- Sound Mixer : Jean-Yves Rousseau
Media Gallery
Technical details
- Type : Feature film
- Genres : Fiction
- Sub-genre : Drama
- Production language : French
- Production country : France (100.0%)
- Original French-language productions : Yes
- Nationality : 100% French (France)
- Production year : 1995
- French release : 11/10/1995
- Runtime : 1 h 40 min
- Current status : Released
- Visa number : 85.973
- Visa issue date : 26/06/1995
- Approval : Yes
- Production formats : 35mm
- Color type : Color
- Aspect ratio : 1.66
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About
Like everyone in Marseilles, he is of mixed origin. His father is Armenian and his mother German. (...) His father worked on the docks. He had about twenty accidents at work. Perhaps that’s the reason why Guédiguian keeps his eyes wide open on the reality of life. (...) He successfully completed his studies, probably to make his parents happy. (...) He loves Brecht, Capra, Pasolini and Ken Loach, to name only a few. He only works with friends who share his point of view. (...) Like all poor people, loneliness would kill him. He claims that Marseilles is his language... and also that the art he loves the most is firmly grounded in reality. So far, he has made six small films with small budgets about “small people”. He thinks high society is so far from the needy that it has lost all humanity. (...) He tries to keep his balance on a tightrope between discourse and narration, between emotion and intelligence, between pleasure and attention.
(Robert Guédiguian - Self-portrait)
