| Sandrine Bonnaire | ... | Mona Bergeron, sans toit ni loi | |
| Setti Ramdane | ... | le marocaine qui la trouve | |
| Francis Balchère | ... | un gendarme | |
| Jean-Louis Perletti | ... | un autre | |
| Urbain Causse | ... | un paysan interrogé | |
| Christophe Alcazar | ... | un autre, brûleyrr de fossé | |
| Dominique Durand | ... | le premier motard | |
| Joël Fosse | ... | l'autre, Paulo, amant de Yolande | |
| Patrick Schmit | ... | le camionneur | |
| Daniel Bos | ... | Le démolisseur | |
| Katy Champaud | ... | le jeune fille à la pompe | |
| Raymond Roulle | ... | le vieux aux allumettes | |
| Henri Fridlani | ... | le fossoyeur | |
| Patrick Sokol | ... | le jaune homme au sandwich | |
| Pierre Imbert | ... | le garagiste | |
| Richard Imbert | ... | Son fils | |
| Marthe Jarnias | ... | la vielle Tante Lydie | |
| Yolande Moreau | ... | Yolande, sa bonne | |
| Gabriel Mariani | ... | Son oncle AIMÉ B.I.O.N.N.E.T. | |
| Patrick Lepcynski | ... | David, le juifferrant | |
| Sylvaine Berger | ... | les Bergers | |
| Michèle Doumeche | ... | La p... sur la route | |
| Sabine | ... | le Bergers | |
| Macha Méril | ... | la platonologne Mme Landier | |
| Pierette Soler | ... | La dame qui parle à son mari | |
| Pierre Emonnot | ... | le régisseur pas content | |
| Stéphane Freiss | ... | Jean-Pierre, ingéneuragronome | |
| Laurence Cortadellas | ... | sa femme Eliane | |
| Emmanuel Protopopoff | ... | le routard donneur-de-sang | |
| Vincent Sanchez | ... | l'infirmier | |
| Michel Constantial | ... | Le réigisseur des caisses | |
| 'Garibaldi' Fernández | ... | Le maçon au bonnet rond | |
| Alain Roussel | ... | l'homme-des-bois, violent | |
| Yahiaoui Assouna | ... | Yahiaoui 'Assoun' Assouna, tailleur devinges | |
| Aimée Chisci | ... | La régisseur du mas | |
| Marguerite Chisci | ... | Sa femme a la télé et à la lessive | |
| Geneviève Bonfils | ... | la voyageuse méfiante | |
| Christian Chessa | ... | Le Zonard-Mac, a la gare | |
| Setina Arhab | ... | la zonarde | |
| Jacques Berthier | ... | Le petit monsieur bien-mis | |
| Olivier Jongerlinck | ... | le racketeur au photomaton | |
| Rémi Leboucq | ... | Le client racketé | |
| Jean Dambrin | ... | le trichlomane | |
| Bébert Samcir | ... | lr joueur d'harmonica |
Directed by | |||
| Agnès Varda | |||
Writing credits(in alphabetical order) | ||
| Agnès Varda | writer | |
Produced by | |||
| Oury Milshtein | .... | producer | |
Original Music by | |||
| Joanna Bruzdowicz | |||
Cinematography by | |||
| Patrick Blossier | |||
Film Editing by | |||
| Patricia Mazuy | |||
| Agnès Varda | |||
Production Management | |||
| Oury Milshtein | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Jacques Royer | .... | first assistant director | |
Sound Department | |||
| Jonathan Liebling | .... | foley artist | |
| Jean-Paul Mugel | .... | sound | |
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| My Own Private Idaho | Ceux qui m'aiment prendront le train | Novecento | Die Blechtrommel | L'albero degli zoccoli |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb France section | Add this title to MyMovies |
Sandrine Bonnaire (Her Name Is Sabine) won a César for her portrayal of Mona, a vagabond that traveled in the South of France during the winter until she was found dead in a ditch.
Director Agnès Varda and her film were nominated for Césars. Varda tried to retrace the last weeks of Mona's life through interviews with those with whom she came in contact. They did not know her name or that she was dead. One of those was Mme Landier, played by Macha Méril, who was also nominated for a César.
Mona comes across many people as she hitches rides, looks for money or food or a place to sleep, sometimes sleeping with strangers living the life of a dropout. In one interesting interlude, she came across another dropout, with a Master's in Philosophy, who tries to get her interested in settling down as he did with a wife and child, raising goats. He talked about freedom and loneliness and finding a place between the two. She wasn't interested in giving up freedom for companionship.
All the people who met her never really got to know her because, as she told Mme Landier, she makes things up. She tells them what they want to hear. She should have listened to the one man who seemed to have it together. You can dropout a little, but to drop out completely causes a loneliness that eats at you until it consumes you. It is what happened to Mona.
After watching the film, you want to think and ask, "Just how much does anyone really know us?" We may have acquaintances, but do they ever get close enough? If you get IFC, the film is going to be playing this month. I watched the Criterion edition, and it was a beautiful copy that really sticks with you.