Synopsis
The last weekend of summer. Mother is preparing the jars for winter pickling, love-struck Françoise is practising karaoke in front of her little brother Julien. In the shed behind the house, Karim is doing some "undeclared" work, having given up on his acting dreams. In a few hours, the new canning factory, where Father works, will be inaugurated. No one is expecting Sonia, who decides to turn up that very morning.
Credits
Director (1)
Actors (11)
Production and distribution (4)
- Executive Producer : Movimento Production
- Co-productions : Auvergne-Rhône-Alpes Cinéma, Arte France Cinéma
- Film exports/foreign sales : Fortissimo Films
- French distribution : Les Films du Paradoxe
Full credits (17)
- Executive Producer : Dominique Andréani
- Screenwriters : Laurent Achard, Ricardo Munoz
- Director of Photography : Philippe Van Leeuw
- Assistant directors : Hubert Barbin, Aude Cathelin
- Editor : Josiane Zardoya
- Sound Recordist : Éric Rophé
- Costume designer : Pascaline Chavanne
- Sound assistants : Frédéric Bobillier, Nicolas Cantin
- Assistant Operators : Mounia Lamrani Malhuret, Galatée Politis
- Production managers : Bruno Florentin, Bernard Bolzinger
- Press Attaché (film) : Marie-Christine Damiens
- Sound editor : Valérie Brégaint
- Assistant editor : Nathalie Gascoin
- Continuity supervisor : Nicole Marie
- Production Designers : Éric Barboza, Laurent Le Bourhis
- Sound Mixer : Stéphane Thiébaut
- Still Photographer : Roger Arpajou
Watch this movie
Watch Plus qu'hier, moins que demain in VOD
Technical details
- Type : Feature film
- Genres : Fiction
- Sub-genre : Drama
- Production language : French
- Original French-language productions : Unspecified
- Nationality : 100% French
Box-office & releases
News & awards
Selections (4)
Lisbon - French Film Festival
Portugal, 2000
Cinematheque Program - New French Cinema
Sydney - Film Festival
Australia, 1999
The debut collection
Special Night : New French Directors
Cairo - International Film Festival
Egypt, 1998
Official Competition
Awards (1)
About
"Living between yesterday and tomorrow means more than letting go. It also means acquiring a heritage. Below the crumbling surface of humanity there is also the solid granite and scope of life's movements with its cycles that transcend us. Perhaps guided—like Hölderlin—by an unconscious certainty that "beauty is only the first degree of awesomeness," Achard addresses his film to a child simultaneously strange and familiar (that is, us), to our mothers, to our families, and to the oldsters we'll become in turn. To all those people, Achard confesses his bitter gratitude and makes a paradoxical farewell. More (modest) than yesterday, less (great) than tomorrow—in other words, the entire expanding universe."
(Olivier Séguret, "Libération," February 3, 1999)