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Festival Schedule and Program

en français | time schedule | feature films | short films | program [PDF]

2007 Festival Feature Films (March 30 - April 1)

l' homme de sa vie

French director [client – please provide copy] presents L’Homme de sa vie

director Zabou Breitman screenplay Zabou Breitman and Agnès de Sacy producer Philippe Godeau starring Bernard Campan, Charles Berling, Léa Drucker running time 114 min mature audience

Just like they do every year, Frederic and his wife Frederique are spending their summer secluded in the middle of the Drôme with a large part of their family. One evening they invite Hugo, their new neighbor who comically flaunts his homosexuality, to dinner. While discussing love until dawn, Hugo and Frederic form a bond which begins to inject tension into their hearts and lives.

Scene 2Scene 2

Zabou Breitman

2007 L’Homme de sa vie by Zabou Breitman
2006 Le Parfum de la dame en noir by Denis Podalydes
2004 Narco by Tristan Aurouet et Gilles Lellouche
2002 Se souvenir des belles choses by Zabou Breitman
  Un monde presque paisible by Michel Deville
1999 Ma petite entreprise by Pierre Jolivet
1998 Du bleu jusqu’en Amérique by Sarah Levy
1999 Le Double de ma moitié by Yves Amoureux
1997 L'Homme idéal by Xavier Gelin
  Ça reste entre nous by Martin Lamotte
1996 Tenue correcte exigée by Philippe Lioret
1992 La Crise by Coline Serreau
  Cuisine et dépendances by Philippe Muyl
1991 588, rue de Paradis by Henri Verneuil
  Juste avant l’orage by Bruno Herbulot
1990 Promotion canapé by Didier Kaminka
  Blanval by Michel Mees
  Camping sauvage by Gérard Jugnot
1989 La Baule les pins by Diane Kurys
1988 Moitié Moitié by Paul Boujenah
1987 Dandin by Roger Planchon
  La Travestie by Yves Boisset
1986 Le Complexe du kangourou by Pierre Jolivet
  Le Beauf by Yves Amoureux
1985 Billy ze kick by Gérard Mordillat
  Suivez mon regard by Jean Curtelin
  États d’âmes by Jacques Fansten

Bernard Campan

2006 La Vie est un rêve by Bernard Campan
  L’Homme de sa vie by Zabou Breitman
2005 Combien tu m’aimes? by Bertrand Blier
2003 Poids Léger by Jean-Pierre Améris
2002 Le Coeur des hommes by Marc Esposito
  Se souvenir des belles choses by Zabou Breitman
2001 Les Rois mages by Didier Bourdon and Bernard Campan
2000 L’Etraterrestre by Didier Bourdon
1999 Augustin, Roi du kung-fu by Anne Fontaine
1997 Le Pri by Didier Bourdon and Bernard Campan
1995 Les Trois frères by Didier Bourdon and Bernard Campan
1985 Le Téléphone sonne toujours deux fois by Jean-Pierre Vergne

Charles Berling

2006 Je pense à vous by Pascal Bonitzer
  L’Homme de sa vie by Zabou Breitman
2005 J’ai vu tuer Ben Barka by Serge Le Péron
  Les Murs porteurs by Cyril Gelblat
2004  La Maison de Nina by Richard Dembo
  Un fil à la patte by Michel Deville
  Grabuge by Jean-Pierre Mocky
2003  Père et fils by Michel Boujenah
2002  Le Soleil assassiné by Abdelkrim Bahloul
  Je reste by Diane Kurys
  Agents secrets by Frédéric Schoendoerffer
  Cravate club by Frédéric Jardin
  Demonlover by Olivier Assayas
  Filles perdues, cheveux gras by Claude Duty
2000 Scènes de crimes by Frédéric Schoendoerffer
  Stardom by Denys Arcand
  Les Destinées sentimentales by Olivier Assayas
  Comédie de l’innocence by Raoul Ruiz
  Comment j’ai tué mon père by Anne Fontaine
  Jeu d’enfants by Laurent Tuel
  Les Ames fortes by Raoul Ruiz
1999 Fait d’hiver by Robert Enrico
  L'Ennui by Cédric Kahn
  Un pont entre deux rives by Gérard Depardieu and Frédéric Auburtin
  Une affaire de goût by Bernard Rapp
1998 Ceux qui m’aiment prendront le train by Patrice Chéreau
  L'inconnu de Strasbourg by Valéria Sarmiento
  La Cloche by Charles Berling
1997 Obsession by Peter Sehr
  Les Palmes de Monsieur Schutz by Claude Pinoteau
  Nettoyage à sec by Anne Fontaine
1996 Ridicule by Patrice Leconte
  Love etc by Marion Vernoux
1995 Nelly et Monsieur Arnaud by Claude Sautet
1994 Couples et amants by John Lwolf
  Petits arrangements avec les morts by Pascale Ferran
  Consentement mutuel by Bernard Stora
  Dernier stade by Christian Zerbib
  Pullman paradis by Michelle Rosier
1993 Just friends by Marc Henri Wajnberg
1992 Les Vaisseaux du cœur by Andrew Birkin
1985 Vacherie by François Christophe
1981  Meurtre à domicile by Marc Lobet

Léa Drucker

2006 L’Homme de sa vie by Zabou Breitman
  Les Brigades du tigre by Jérôme Cornuau
2005 Akoibon, by Edouard Baer
  Dans tes rêves by Denis Thybaud
  Virgil by Mabrouk El Mechri
2004 Narco by Tristan Aurouet and Gilles Lellouche
  A quoi ça sert de voter écolo? by Aure Atika (short film)
  Illustre inconnue by Marc Fitoussi
2003 Bienvenue au gîte by Claude Duty
2002 3 Zéros by Fabien Onteniente
  Filles perdues, cheveux gras by Claude Duty
  Dans ma peau by Marine De Van
2001 Chaos by Coline Serreau
1999 Peut-être by Cédric Klapisch
  Un pur moment de rock’n roll by Manuel Bourssinhac
  Mes amis by Michel Hazanavicius
  Fait d’hiver by Robert Enrico
1998 L’Annonce faite à Marius by Harmel Sbraire
1997 Assassins by Matthieu Kassovitz
  Bouge! by Jérôme Cornuau

Scene 3

Interview with Zabou Breitman

Why did you choose homosexuality as the gateway to the human condition?
Because it yields to the anti-conventional. And it is the stand that I purposely chose to take for the recording of my observations through this small window. Plus, we are talking about a minority, and minorities have, in my eyes, a primordial role to play. They remind us who we are. Minorities are the jewel, the spark in each of us. In the film, homosexuality acts as an indicator does in chemistry. A little like the enzyme that changes starch into sugar. It reveals what love is. It modifies our perception of love and shows its extensive range, and it is this range that I explored in the film.

What do your characters teach us about love?
That each of us is searching for an answer. It is actually about a quest. It is about the gaze that goes from the other to the self and triggers our reflections about where we situate ourselves in regard to love, and where love sets us in space. The Man of his life represents more precisely the “masculine” in all of its functions: the boy for his father, the father for his son, friend for friend, husband for wife.

Your characters are not defined by their past, or by their function. Why?
As soon as we define a past, it becomes trivial. I think we too often confuse function and human nature. In L’homme de sa vie the audience is vaguely aware that one is a chemist and the other a graphic designer, but we can switch them without making a difference. During the casting process, I was adamant that the actors who played Frederic and Hugo had to be completely interchangeable. Frederic and Frederique have the same name, incidentally. By speaking of the three, I am speaking of the same person. Each one carries a third of the other. When Frederic is next to a man, he seems more feminine; when he is next to a woman, he seems more masculine. It’s like an optical illusion. By putting blue next to red and the same blue next to white, we perceive a different blue.




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