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Festival Schedule and Program

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2010 Festival Feature Films (March 25-28)

Erreur de la banque en votre faveur

French directors Gérard Bitton and Michel Munz present Erreur de la banque en votre faveur

directors Gérard Bitton, Michel Munz screenplay Gérard Bitton, Michel Munz producer Charles Gassot starring Gérard Lanvin, Philippe Magnan, Jean-Pierre Darroussin, Barbara Schulz, Scali Delpeyrat, Martin Lamotte, Éric Berger, Jennifer Decker, Roger Van Hool, Éric Naggar, Eric Gamelon running time 1 h 44 min parental guidance

Synopsis

When Julien Foucault, maître d’ of the reputable investment bank Berthin-Schwartz, learns that he has been laid off, he sees the opportunity to accomplish his lifelong dream: to open a restaurant with his best friend Étienne. However, after 17 years of good and loyal service, the bank refuses him any financial assistance. Julien then decides to take advantage of confidential information used by his employers, but they soon discover this insider trading and decide to play a Machiavellian trick on him. …

director/screenwriter
Michel Munz

2005 Le Cactus
2002 Ah! Si j’étais riche
2001 La Vérité si je mens! 2
1998 Bébés boum (TV)
1996 La Vérité si je mens!
1995 L’Amour en prime (TV)
1992 Papa veut pas que je t’épouse (TV)

director/screenwriter
Gérard Bitton

2005 Le Cactus
2002 Ah! Si j’étais riche
2001 La Vérité si je mens! 2
1998 Bébés boum (TV)
1996 La Vérité si je mens!
1995 L’Amour en prime (TV)

actor
Gérard Lanvin

selected filmography

2010 A bout portant by Fred Cavayé
2009 Le Fils à Jo by Philippe Guillard
2008 Envoyés très spéciaux by Frédéric Auburtin
  Mesrine: L’ennemi public n°1 by Jean-François Richet
2007 Secret défense by Philippe Haïm
2006 Le Prix à payer by Alexandra Leclère
2005 Le Héros de la famille by Thierry Klifa
  Camping by Fabien Onteniente
2004 San-Antonio by Frédéric Aubutin
  Les Enfants by Christian Vincent
  Les Parrains by Frédéric Forestier
2003 À la petite semaine by Sam Karmann
2001 3 Zéros by Fabien Onteniente
2000 Les Morsures de l’aube by Antoine de Caunes
1999 Passionnément by Bruno Nuytten
  Le Goût des autres by Agnès Jaoui
1998 La Femme du cosmonaute by Jacques Monnet
  En plein cœur by Pierre Jolivet
1996 Anna Oz by Éric Rochant
1995 Mon homme by Bertrand Blier
1994 Le Fils préféré by Nicole Garcia
1993 Les Marmottes by Elie Chouraqui
1992 La Belle Histoire by Claude Lelouch
1990 Il y a des jours… et des lunes by Claude Lelouch
1989 Mes meilleurs copains by Jean-Marie Poiré
1987 Saxo by Ariel Zeitoun
1986 Les Frères Pétard by Hervé Palud

actor
Jean-Pierre Darroussin

selected filmography

2009 La Dame de trèfle by Jérôme Bonnell
  Rien de personnel by Mathias Gokalp
  L’immortel by Richard Berry
2008 L’Armée du crime by Robert Guédiguian
2007 Le Cœur des hommes 2 by Marc Esposito
  Lady Jane by Robert Guédiguian
  Les Grandes Personnes by Anna Novion
  Le Voyage aux Pyrénées by Arnaud Larrieu
2006 Fragile(s) by Martin Valente
  Dialogue avec mon jardinier by Jean Becker
  J’attends quelqu’un by Jérôme Bonnell
2005 Toute la beauté du monde by Marc Esposito
  Le Cactus by Gérard Bitton and Michel Munz
  Le Pressentiment (director and screenwriter)
  Combien tu m’aimes? by Bertrand Blier
  Le Voyage en Arménie by Robert Guédiguian
2004 Mon Père est ingénieur by Robert Guédiguian
  Un long dimanche de fiançailles by Jean-Pierre Jeunet
  Cause toujours! by Jeanne Labrune
  Saint-Jacques… La Mecque by Coline Serreau
2003 Feux Rouges by Cédric Kahn
  Les Clefs de Bagnole by Laurent Baffie
2002 C’est le bouquet! by Jeanne Labrune
  Ah! Si j’étais riche by Gérard Bitton and Michel Munz
  Le Cœur des hommes by Marc Esposito
  Le Retour du printemps by Carlos Pardo
2001 L’Art (délicat) de la séduction by Richard Berry
  Mille Millièmes by Rémi Waterhouse
  Une affaire privée by Guillaume Nicloux
  Marie-Jo et ses deux amours by Robert Guédiguian

Interview with the two directors about their collaboration

This is our third film and we felt more relaxed, more in control managing this new adventure, and consequently more able to enjoy the process. We work along the same dynamic, the same logic. We wrote the script together, so it is very rare that we do not have the same vision of the film, of a sequence. What helps us to write, to move forward, is first of all identifying one aspect of our society that we find particularly striking, a phenomenon that to us combines a sort of general interest with great comedic potential. Erreur de la banque en votre faveurThen, little by little, the characters would begin to emerge from the story, and then an atmosphere, the décor. … It’s pretty exhilarating to begin describing the characters, a situation, while playing with the dialogue. We love characters looking for a second chance. With these elements in place, we can branch out, introduce a more comic tone and move beyond the first level of the story so as not to appear too Manichean. We change who the primary director is every other day and the one who is directing relies on the other as his highest ranking assistant, depends on his sight and hearing. Whoever is behind the combo is bound to be calmer — he has more perspective, a more relevant vision for certain details because he is less stressed that day. This is a top-notch support system for the director of the day.


 
 

 

 


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