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2010
Festival Feature Films (March 25-28)
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 |
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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 |
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Camping by Fabien Onteniente |
| 2004 |
San-Antonio by Frédéric Aubutin |
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Les Enfants by Christian Vincent |
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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 |
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Le Goût des autres by Agnès Jaoui |
| 1998 |
La Femme du cosmonaute by Jacques Monnet |
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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 |
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Rien de personnel by Mathias Gokalp |
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L’immortel by Richard Berry |
| 2008 |
L’Armée du crime by Robert Guédiguian |
| 2007 |
Le Cœur des hommes 2 by Marc Esposito |
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Lady Jane by Robert Guédiguian |
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Les Grandes Personnes by Anna Novion |
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Le Voyage aux Pyrénées by Arnaud Larrieu |
| 2006 |
Fragile(s) by Martin Valente |
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Dialogue avec mon jardinier by Jean Becker |
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J’attends quelqu’un by Jérôme Bonnell |
| 2005 |
Toute la beauté du monde by Marc Esposito |
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Le Cactus by Gérard Bitton and Michel Munz |
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Le Pressentiment (director and screenwriter) |
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Combien tu m’aimes? by Bertrand Blier |
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Le Voyage en Arménie by Robert Guédiguian |
| 2004 |
Mon Père est ingénieur by Robert Guédiguian |
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Un long dimanche de fiançailles by Jean-Pierre Jeunet |
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Cause toujours! by Jeanne Labrune |
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Saint-Jacques… La Mecque by Coline Serreau |
| 2003 |
Feux Rouges by Cédric Kahn |
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Les Clefs de Bagnole by Laurent Baffie |
| 2002 |
C’est le bouquet! by Jeanne Labrune |
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Ah! Si j’étais riche by Gérard Bitton and Michel Munz |
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Le Cœur des hommes by Marc Esposito |
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Le Retour du printemps by Carlos Pardo |
| 2001 |
L’Art (délicat) de la séduction by Richard Berry |
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Mille Millièmes by Rémi Waterhouse |
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Une affaire privée by Guillaume Nicloux |
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Marie-Jo et ses deux amours by Robert Guédiguian |
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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.  Then, 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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