The New Yorker
Synopsis
Alfred, a young Frenchie, arrives in New York to pursue the romance he began with Alice, an American girl he met in Paris. But Alice refuses to see him and Alfred is left to fend for himself in this unwelcoming city where danger lurks on every street corner. Things go from bad to worse and soon he is out on the street. A Mafia don finds him sleeping on a bench in Central Park and gives him the delicate task of dog-sitting in a luxurious house on Long Island. Alfred’s first thought is to impress Alice with his swanky lifestyle, but the dog escapes and he has to go looking for it. He doesn’t find it, but he does meet the house-owner, the Mafia don’s daugther, fresh home from a detox clinic. Kareen seems to have a heart of gold. She’s also into " snuff movies
Credits
Director (1)
Production and distribution (2)
- Executive Producer : Les Films du Requin
- French distribution : Pierre Grise Distribution
Full credits (7)
- Executive Producers : Cyriac Auriol, Pauline Duhault
- Screenwriter : Benoît Graffin
- Director of Photography : Antoine Héberlé
- Music Composer : Yarol Poupaud
- Editors : Anne Argouse, Delphine Dufriche
- Sound Recordist : Cyril Holtz
- Press Attaché (film) : Bastien Duval
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Technical details
- Type : Feature film
- Genres : Fiction
- Sub-genre : Drama
- Production language : French
- Original French-language productions : Unspecified
- Nationality : 100% French
- Production year : 1998
- French release : 09/12/1998
- Runtime : 1 h 15 min
- Current status : Released
- Visa number : 90.377
- Visa issue date : 28/08/1998
- Approval : Yes
- Production formats : 35mm
- Color type : Color
- Aspect ratio : 1.66
News & awards
Selections (1)
About
“It’s make-believe, obviously. Adolescent make-believe, but with none of the usual pejorative overtones. Pluckily playing with the cinema/America metaphor, Benoît Graffin launches into the conquest of his debut movie with total energy, a seemingly minimal chance of success and all the appearance of having paddled himself up a creek that only desperate measures will rescue him from. Luckily for Benoît the director and Alfred the (exceedingly) moonstruck lover, very efficient help is at hand in the shape of the ironically off-balanced but unusually strong performance of Mathieu Demy. This youthful author/character/actor threesome marches boldly in step with a muddle-headed valiancy that gives the film its vim and vigor.”
