| Photos (see all 2 | slideshow) | Videos (see all 4) |
| Pilar López de Ayala | ... | Ella | |
| Xavier Lafitte | ... | Él | |
| rest of cast listed alphabetically: | |||
| Michaël Balerdi | ... | Un passant | |
| Laurence Cordier | |||
| Tanja Czichy | ... | Tanja | |
| Gladys Deussner | ... | Woman reading a book | |
| Eric Dietrich | |||
| Charlotte Dupont | |||
| Philippe Ohrel | ... | The strange man | |
Directed by | |||
| José Luis Guerín | |||
Writing credits(in alphabetical order) | ||
| José Luis Guerín | writer | |
Produced by | |||
| Sébastien de Fonseca | .... | associate producer | |
| Gaëlle Jones | .... | co-producer | |
| Luis Miñarro | .... | producer | |
| Cédric Walter | .... | associate producer | |
Cinematography by | |||
| Natasha Braier | |||
Film Editing by | |||
| Núria Esquerra | |||
Casting by | |||
| Cristina Campos | |||
Art Direction by | |||
| Maite Sánchez | |||
Costume Design by | |||
| Míriam Compte | |||
Makeup Department | |||
| Pilartxo Díez | .... | hair stylist | |
| Marie-Laure Texier | .... | makeup artist | |
Production Management | |||
| Livia Arroyo | .... | assistant production manager | |
| Anne Bennet | .... | production manager | |
| Nico Villarejo Farkas | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Amandine Escoffier | .... | second assistant director | |
| Pol Rodríguez | .... | first assistant director | |
| Carolina Sá | .... | second assistant director | |
Art Department | |||
| Joaquin Jara | .... | painter | |
Sound Department | |||
| Ricard Casals | .... | sound re-recording mixer | |
| Aleksandra Cheuvreux | .... | sound recordist | |
| Marisol Nievas | .... | sound editor | |
| Kiku Vidal | .... | foley artist | |
| Amanda Villavieja | .... | sound | |
Camera and Electrical Department | |||
| Carlos Cabeceran | .... | steadicam operator (as Carlos Cabecerán) | |
| Álvaro Fernández | .... | first assistant camera | |
| Colas Jourdain | .... | grip | |
| Eloi Sánchez | .... | second assistant camera | |
| Mitch Spooner | .... | gaffer | |
| Jérémy Stone | .... | key grip | |
Costume and Wardrobe Department | |||
| Mar Fraga | .... | costumer | |
Music Department | |||
| Arthur Bacon | .... | musician | |
| Mélanie Bonin | .... | musician | |
| Aline Haelberg | .... | musician | |
| Migala | .... | musician | |
Other crew | |||
| Florence Alexandre | .... | production administrator | |
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| La cité des enfants perdus | Les diables | L'auberge espagnole | The Bourne Ultimatum | The Dancer Upstairs |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Spain section |
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After arriving at a city, an artist waits at an outdoor café and anticipates Sylvia's appearance. He then proceeds to follow a girl, but it turns out to be a mistake.
Without much dialogue or dramatic genuflections, viewers may find that José Luis Guerin's latest film takes some time to absorb. Pushing the clichéd man searching for woman narrative aside it is possible to interpret the film from several view points. It is an abstract film about Strasbourg (almost unidentifiable as several languages are heard), it is about observing women (mediated through the male gaze), and may also be seen as simply tracing an obsession.
The title is somewhat misleading as Sylvia remains absent and emerges only as an image (a combination of all the women "elles" the man has sketched) throughout the film. Even the subheadings (the first, second, and third night) are ambiguous as most scenes happen during the daytime. Yet the three parts are ingeniously linked by the café waitress with slightly different but highly related scenes. The ending in which the man follows the waitress suggests a continuation of his romantic search. The narrative ambiguities are successfully compensated by Guerin's reinvention of cinema as a tool to record and provide a vision beyond one's naked eye. Other details, such as the repetitions (the same graffiti and wallet peddler, even the girl's gesture resembles the advertisement model's), sound effects (the woman's footsteps), and use of off-screen space further generate pleasure for perceptive viewers of this light piece.