Drama

Ouistreham

Cinéfrance Studios

Curiosa Films

France 3

Studio Exception

France

Français

Deutsch

Between Two Worlds

Juliette Binoche

Hélène Lambert

Louise Pociecka

Steve Papagiannis

Jérémy Lechevallier

Kévin Maspimby

Faïçal Zoua

Arnaud Duval

Didier Pupin

Léa Carne

Nathalie Lecornu

Joël Graindorge

Clémentine Tehua

Wendy Quéguiner

Epiphanie Leloup

Chrisfield Brasseur

Patricia Prieur

Isabelle Hanout

Pascale Delevoye

Richard Vasnier

Anne Toffolutti

Clarisse Texier

Alicia Alonso

Évelyne Porée

Émily Madeleine

Florence Hélouin

Indiana Marie

Louis-Do de Lencquesaing

Hélène Devynck

Mathieu Lamboley

Albane Cousinard

Romain Marietti

Isabelle Pannetier

Matthias Jenny

Jean-Luc Ormières

Emilien Bignon

Virginie Destiné

Anne Gibourg

Thibaut Macquart

Matthieu Tertois

Olivier Walczak

Elsa Pharaon

Emmanuel Carrère

Florence Aubenas

Patrick Blossier

Albertine Lastera

Julia Lemaire

Emmanuel Croset

Jean-Pierre Duret

David Gauquié

Julien Deris

Olivier Delbosc

Christine de Jekel

CinemaSerf

Juliette Binoche is "Marianne", a woman looking for work after her marriage has failed and she is left pretty much broke. The employment agency recommends she becomes something along the lines of a "domestic apparatus operator" (i.e. a minimum wage cleaner). Talk about back-breaking work? Anyway, gradually she finds her feet and falls in with other, similarly situated, folks - notably the affable "Cèdric" (Didier Pupin) with whom she bonds a little (platonically), and "Chrystèle" (a strong performance from Hélène Lambert). It is the latter who manages to get "Marianne" a job cleaning the ferry between Portsmouth and Ouistreham where they work servicing the guest cabins - 4 minutes per cabin! Now I have used this ferry once or twice, so at this point the reality of the film - and of the really tough jobs done by these labourers (for that is certainly what they are) starts to kick in. They have a camaraderie and an esprit de corps that defiantly stands up to the pretty difficult working environment in which they must function. Lambert, especially, but Lèa Carne's "Marilou" and Evelyn Porèe's team-leading "Nadège" all contribute well to the general sense of just how hard these folks toil, and on what tiny incomes they are expected to get by. The twist? Well, midway through, we learn that "Marianne" has quite a different agenda to that introduced at the top of the film, and what conflict there is comes from that realisation by her friends who must come to terms with her true identity. Some applaud whilst other this see as a betrayal. Binoche is convincing here; and the film offers us a pretty scathing attack on not just the employers who pay next to nothing, but on the travellers and general public who seem incapable of flushing a toilet or tidying up after themselves. It does plod a bit; and the ending is both rushed and a little disappointing - but as a critique on an employment sub-culture which many of us just sleep through, it is well worth a watch.

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