Synopsis
Ange fails an audition which is crucial for his career. In despair, he goes to call on Concepciòn, a struggling 30 year-old Spanish actress he recently met. To his surprise, he lands in the middle of a dinner party of movie celebrities. Baffled and disoriented, Ange finds himself and Concepciòn playing the role of real-life hostage takers.
Credits
Director (1)
Actors (20)
Production and distribution (4)
- Executive Producer : ADR Productions
- Co-productions : STUDIOCANAL, Arte France Cinéma
- Film exports/foreign sales : Pyramide International
- French distribution : Les Films du Losange
Full credits (20)
- Executive Producers : Alain Rozanes, Pascal Verroust
- Assistant Director : Jean-Stéphane Sauvaire
- Sound Recordist : Michel Brethez
- Screenwriter : Karim Dridi
- Director of Photography : Patrick Blossier
- Sound Assistant : Pierre Tucat
- Assistant Operator : Sébastien Buchmann
- Production Manager : Jacques Attia
- Press Attachés (film) : François Hassan Guerrar, Aude Thomas, Isabelle de la Baume
- Editor : Lise Beaulieu
- Sound editors : Thomas Desjonquères, Jean Gargonne
- Continuity supervisor : Caroline Saillo
- Production Designer : Pierre-François Limbosch
- Music Composer : Andréas Roé
- Stunt performers : Nicky Naudé, Patrick Cauderlier, Michaël Troude
- Casting : Françoise Menidrey
- Costume designer : Emmanuelle Pertus
- Sound Mixer : Dominique Hennequin
- Still Photographer : Bernard Fau
- Location Manager : Kader Djedra
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Technical details
- Type : Feature film
- Genres : Fiction
- Sub-genre : Drama
- Themes : Fraud
- Production language : French
- Production country : France (100.0%)
- Original French-language productions : Unspecified
- Nationality : 100% French (France)
- Production year : 1998
- French release : 25/11/1998
- Runtime : 1 h 40 min
- Current status : Released
- Visa number : 90.651
- Visa issue date : 06/07/1998
- Approval : Yes
- Production formats : 35mm
- Color type : Color
Box-office & releases
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International releases
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News & awards
Selections (4)
About
To reduce “Foul Play” to a tell-all game involving a handful of celebrity actors would be to get it wrong. It is first and foremost a story about humanity. When the film goes over the top, as it occasionally does, it is always in a way that seems natural, a bit like the films of Mocky, who never made a virtue of sobriety. Dridi sets out to strip down the mechanisms of social humiliation in whatever milieu it occurs. He also sets out to tell a modern love story, set in circumstances that are actually quite down-to-earth and universal, no matter how outlandish they may seem. It is also about trusting the tool of cinema, for better or for worse, in all its magic and rawness. A straightforward film-maker, Dridi also knows how to have fun with flair, as can be seen in the unforgettable “magic mushrooms” sequence. “Foul Play” is a complicated film by a guy with ideas, bouncing with rare health and overpowering at times, but only because it’s so affectionate. And of course, that’s exactly why Karim Dridi is so interesting — because he’s impetuous. (Olivier Séguret in “Libération”, November 25th 1998)
