Life Is Hard, So Are We
Synopsis
HE is called Charles. A young man from Marseille, now living in Paris, who is pathologically secretive, insomniac, hypochondriac, a loner and self-centered, yet gifted with a rare ability to listen and sympathize. Charles is automatically assigned to look after Monsieur Smith, a friend's dog. His enforced walks enable him to see the city anew, from a human—or rather, a canine—perspective. One day, his path crosses a woman's winged steps. Charles immediately realizes that SHE is the love of his life, since just two minutes of her soothing presence enables him to fall asleep. Charles desperately tries to find her again, but his quest proves difficult. Everyone who might have come across the stranger apparently has no recollection of her.
Credits
Director (1)
Actors (8)
Production and distribution (3)
- Executive Producer : Compagnie des Films
- Co-production : Piketty Productions
- French distribution : Cara M.
Full credits (13)
- Executive Producer : Jacky Ouaknine
- Screenwriters : Charles Castella, Alice De Poncheville
- Director of Photography : Nils De Coster
- Music Composer : Lazare Boghossian
- Editor : François Charpentier
- Sound recordists : Catherine Mendez, Patrice Mendez
- Line Producer : Pascal Metge
- Co-producer : Laurent Piketty
- Assistant Operator : Julien Bureau
- Press Attaché (film) : Matilde Incerti
- Sound Mixer : Patrice Mendez
- Still Photographer : Christian Bamale
- Unit Production Manager : Manuel Recolin
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Technical details
- Type : Feature film
- Genres : Fiction
- Production language : French
- Production country : France
- Original French-language productions : Unspecified
- Nationality : 100% French (France)
- Production year : 1998
- French release : 13/01/1999
- Runtime : 1 h 35 min
- Current status : Released
- Visa number : 91.870
- Visa issue date : 10/07/1998
- Approval : Yes
- Production formats : 35mm
- Color type : Color
News & awards
Selections (1)
About
"I've always thought that keeping small and lean would let me go where the big films couldn't. I don't mean being able to shoot anywhere (without having to block off a street, for example) but above all keeping the vision and humor light and fresh. Lightness makes it possible to constantly adapt the script to new ideas. The screenplay isn't rigid, it evolves in order to stay lively. When the Italian artist Morandi was painting a series of still-lifes of jars and bottles, no one said 'What a poor subject.'"
(Charles Castella, Director)
