Whatever
Synopsis
An ordinary computer technician, lacking any ambition or drive, is obliged to take several business trips to the provinces. He's accompanied by a work colleague who's still looking for love despite successive failures in the past. But in a perfectly free sexual system, life is sometimes painful and disappointing. Some have an exciting and varied erotic life, others are reduced to masturbation and solitude; it's what's called the law of the market.
Credits
Director (1)
Actors (35)
Production and distribution (4)
- Executive Producer : Lazennec & Associés
- Co-production : STUDIOCANAL
- Film exports/foreign sales : Tamasa Distribution
- French distribution : Mars Distribution
Full credits (18)
- Executive Producer : Adeline Lecallier
- Adaptation : Philippe Harel
- Screenwriter : Philippe Harel
- Director of Photography : Gilles Henry
- Assistant Director : Jérôme Zajdermann
- Editors : Bénédicte Teiger, Thomas Desjonquères
- Sound Recordist : Joël Flesher
- Costume designer : Anne Schotte
- Author of original work : Michel Houellebecq
- Associate producers : Bertrand Faivre, Christophe Rossignon, Alain Rocca
- Assistant Operator : Sébastien Leclercq
- Production manager : Ève François Machuel
- Press Attaché (film) : Agnès Chabot
- Production Designer : Louise Marzaroli
- Casting : Marie De Laubier
- Narrator : Philippe Bianco
- Still Photographer : Guy Ferrandis
- Location Manager : Christophe Desenclos
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Media Gallery
Technical details
- Type : Feature film
- Genres : Fiction
- Sub-genre : Drama, Literary adaptation
- Production language : French
- Production country : France
- Original French-language productions : Unspecified
- Nationality : 100% French (France)
- Production year : 1999
- French release : 13/10/1999
- Runtime : 2 h
- Current status : Released
- Visa number : 95.365
- Visa issue date : 14/10/1999
- Approval : Yes
- Production formats : 35mm
- Color type : Color
- Aspect ratio : 1.85
Box-office & releases
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International releases
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News & awards
Selections (6)
About
The sorry itinerary of this computer executive, whose only social interaction relates to his job and who has no sex life, goes a step beyond merely being striking sociological observation of human "types" (in the present case, pretty mediocre urban service sector). Harel's film is devoid of clichés while not indulging his lead character – he couldn't care less if he's likeable, but he doesn't lay it on thick, either. It reveals the potential personal consequences of a society totally subjected to free enterprise in the areas of economy, thought and behavior. On an emotional and sexual level, the devastation wrought by impoverishment isn't immediately visible, although just as deadly. A struggle continues, not to live, just to survive.
Christophe Chauville – "Repérages," October/November 1999
