The Frenchman's Son
Synopsis
One is quite serious when one is ten. Benjamin is without a mother and on the hunt for his father, a gold digger is Brazil. He is so stubborn in his search that he brings along both his grandmothers into the Amazonian jungle : Anne, the prima donna grandma, smart but broker, and Suzanne, the proletarian granny, fond of poker and a caretaker. They hate each other but have little choice but to help Benjamin in his quest…
Credits
Director (1)
Actors (16)
Production and distribution (4)
- Executive Producer : Film Par Film
- Co-production : TF1 Films Production
- Film exports/foreign sales : Pathé Films
- French distribution : Pathé Films
Full credits (16)
- Executive Producer : Jean-Louis Livi
- Screenwriter : Gérard Lauzier
- Director of Photography : Robert Alazraki
- Assistant Director : Nicolas Guy
- Editor : Georges Klotz
- Sound Recordist : Pierre Gamet
- Costume designer : Marpessa Djian
- Line Producer : Bernard Marescot
- Sound Assistant : Bernard Chaumeil
- Camera operators : Yves Agostini, Arthur Cloquet
- Production Manager : Marc Vadé
- Press Attaché (film) : Claude Davy
- Assistant editor : Viviane Gourvest
- Continuity supervisor : Jacqueline Gamard
- Production Designer : Christian Marti
- Still Photographer : Arnaud Borrel
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Technical details
- Type : Feature film
- Genres : Fiction
- Sub-genre : Comedy
- Production language : French
- Production country : France (100.0%)
- Original French-language productions : Unspecified
- Nationality : 100% French (France)
- Production year : 1999
- French release : 15/12/1999
- Runtime : 1 h 47 min
- Current status : Released
- Visa number : 95.502
- Visa issue date : 10/12/1999
- Approval : Yes
- Color type : Color
- Aspect ratio : 1.85
- Audio format : Dolby
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About
It's true that the two warring grandmothers, let loose in hostile nature, have many things in common with my own. When looking for a subject, you do the rounds of the people closest to you, the people you know the best; you cling to reality like a life-buoy. Between the ages of 10 to 16, I lived with my paternal grandmother, a very middle-class lady who was hard up. My working-class grandmother, from Marseilles, was a communist, went to demos, prayed. I didn't invent class antagonism, it existed well and truly between those two women whom I loved very much. They were the inspiration behind that fantastic springboard of the duo who has nothing in common in the beginning, and who winds up being inseparable. In cinema, these roles are usually given to men to play.
Gérard Lauzier – Director, excerpt from the press folder
