| Back to Previous Festivals |

Festival Schedule and Program

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

2010 Festival Feature Films (March 25-28)

Portrait de groupe avec enfants et motocyclettes

French director and screenwriter Pierre-William Glenn, French producer Magali Potier and French actresses Lucine Sanchez and Amélie Demoulin present Portrait de groupe avec enfants et motocyclettes

director Pierre-William Glenn screenplay Pierre-William Glenn producer and distributer Les Films du Phoenix starring Pierre Guyonnet, Nicolas Dussauge, Amélie Demoulin, Lucine Sanchez, Martin Bellabois, Hugues and Jules Fougeaud, Thibault Gourin, Hugo Monamy, Corentin Accigliaro, Roméo Pageot, Rémi Guyot, Jules and Simon Danilo, Robin Anne, William Wallart, Hugo Casadessus also starring Giacomo Agostini, Rosine Rougerie running time 1 h 31 min general audience

Official selection at the 2009 Cannes Film Festival


Pierre-William Glenn, well known for his film Cheval de fer, with Portrait de groupe avec enfants et motocyclettes, has made the film of his life.

The aspirations of a group of child motorcyclists serve as the catalyst that reveals all Glenn’s life passions: motorcycle racing and all its great champions; French and American cinema and their most famous stars. Native Americans, Audrey Hepburn, Clint Eastwood, Marlon Brando — just like long gone motorcycle champions Mike Hailwood, Michel Rougerie, Patrick Pons — are reincarnated in Pierre-William Glenn’s eyes through the passion of these young drivers. Is that not what is called the immortality of stars?

A fascinating documentary on speed, life, danger, youth, motorcycles, stardom ... beautifully filmed.

Note the remarkable interviews with champions like Giacomo Agostini, Christophe Guyot and even Nicolas Dussauge on their experiences and their passion for motorcycle racing, as well as the breathtaking excerpts from American film classics.

Pierre-William Glenn

2009 Portrait de groupe avec enfants et motocyclettes
1993 23 Heures 58
1987 Terminus
1985 Les Enragés
1974 Le Cheval de fer

selected filmography

director of photography

2004 Un fil à la patte by Michelle Deville
2003 Cette femme-là by Guillaume Nicloux
2002 11’09”01 by Claude Lelouch
2001 And Now … Ladies and Gentlemen by Claude Lelouch
1998 Fait d’hiver by Robert Enrico
1997 Hasards ou coïncidences by Claude Lelouch
1996 Mon père avait raison by Roger Vadim
1995 Sensuelle solitude by Nils Tavernier
  La Nouvelle Tribu by Roger Vadim
  L’Enfant sage by Fabrice Cazeneuve
1993 Le Fou amoureux by Roger Vadim
1991 L’Affût by Yannick Bellon
1990 Captive in the Land by John Berry
1989 L’Orchestre rouge by Jacques Rouffio
1988 Sans espoir de retour by Samuel Fuller
  Les Enfants du désordre by Yannick Bellon
  Une Saison blanche et sèche by Euzhan Palcy
1983 La Crime by Philippe Labro
  Ronde de nuit by Jean-Claude Missiaen
1982 Tir groupé by Jean-Claude Missiaen
  Le Prix du danger by Yves Boisset
  Mississippi Blues by Bertrand Tavernier
1981 Coup de torchon by Bertrand Tavernier
  Le Choix des armes by Alain Corneau
  Espion lève-toi by Yves Boisset
  L’Etoile du Nord by Pierre Granier-Deferre
  Le Choc by Robin Davis
1980 Une semaine de vacances by Bertrand Tavernier
  Allons z’enfants by Yves Boisset
1979 Loulou by Maurice Pialat
  Extérieur nuit by Jacques Bral
  La Mort en direct by Bertrand Tavernier
  L’Entourloupe by Gérard Pirès
1978 Passe ton bac d’abord by Maurice Pialat
  I love you by George Roy Hill
  Série noire by Alain Corneau
  Avalanche by Corey Allen
1977 La Menace by Alain Corneau
  L’Amour violé by Yannick Bellon
1976 Comme un boomerang by José Giovanni
  Portrait de groupe avec dame by Alexandr Petrovic
1975 Le Voyage de noces by Nadine Trintignant
  L’Argent de poche by François Truffaut
  Le Juge et l’assassin by Bertrand Tavernier
1974 Que la fête commence by Bertrand Tavernier
1973 La Femme de Jean by Yannick Bellon
  L’Horloger de Saint-Paul by Bertrand Tavernier
  France société anonyme by Alain Corneau
  La Jeune Fille assassinée by Roger Vadim
1972 Une Belle Fille comme moi by François Truffaut
  La Nuit américaine by François Truffaut
  État de siège by Costa-Gavras
1971 L’Escadron Volopuk by René Gilson
  Où est passé Tom? by José Giovanni
  Les Yeux fermés by Joël Santoni
  Cousin Jules by Dominique Benilchetti
1970 Un aller simple by José Giovanni
  Guitare au poing by Daniel Szuster
1969 Camarades by Marin Karmitz
  Wheels of Ashes by Peter Goldman
  On n’arrête pas le printemps by René Gilson
  Out one by Jacques Rivette


1977 Les Routes du sud by Joseph Losey
1975 Monsieur Klein by Joseph Losey

Interview with director Pierre-William Glenn

Yesterday you were interested in star pilots. Today you film unknown youth. To what do we owe this sudden change?
Three years ago, I had the idea for a comedy portraying a young girl expected to play piano, when all she wanted was to become a motorcycle champion.Portrait de groupe avec enfants et motocyclettes While doing research, I met Lucine, who was living that very same situation, and then it was Amélie. …

It was an excellent medium to deliver my views on time, fear and my admiration for Indians! Some kind of initiation trip during which I unveil my cinematic vision of motorcycles and actors who, like pilots, never die.

Note by Bertrand Tavernier regarding Pierre-William Glenn

I will never forgot the first time I met Pierre-Wiliam Glenn. He came to ask me to direct his graduate thesis, “Psychoanalysis and Freudism in the American B Series Movies,” an excellent work that showed a profound and living knowledge as well as a love of cinema — a love that never weakened. That nourished his life, his conversations and his work, without becoming fetishist references that he reproduced or copied. Portrait de groupe avec enfants et motocyclettesHe drew from it — we all drew from it — an energy that allowed us to tackle, to solve, many problems. With this love, he crossed mountains, he energized the whole team. Throughout the films we made together starting with L’Horloger de Saint-Paul and moving to Coup de torchon and Une semaine de vacances, we would passionately discuss during and especially after filming, the effects of blacklisting on John Berry or Joseph Losey’s careers, Robert Aldrich’s, François Truffaut’s and Ricardo Freda’s last films, Sam Peckinpah’s use of long focal lengths. One of Willy’s other passions (other than math, karate, reading and politics), was motorcycles. And also cars. I experienced many frightful moments at his side, when he roared through torturous Ardèche mountain turns during the filming of Le Juge et l’assassin.

Motorcycles had already inspired a beautiful documentary by Willy Glenn, The Iron Horse. Willy has a fascination for everything that moves. For speed, its exhilaration, its usefulness, its dangers. As if to go as quickly as possible from one point to another was the essence of cinema. Going from one shot to another, one scene to another, from one idea to another, carrying with him thousands, millions of passengers. Without slipping, without falling, without getting lost. As if the notion of time, of travel, of destination was at the heart of mise en scène, at the heart of cinema. I thought of all this after I saw Pierre-William Glenn’s last film, which talks about all this with modesty and delicacy. And it warmed my heart. He hadn’t changed.




Virginia Commonwealth University University of Richmond University of Richmond