| Isabelle Huppert | ... | Maria | |
| Isaach De Bankolé | ... | Le boxeur, l'officier rebelle | |
| Christopher Lambert | ... | André Vial (as Christophe Lambert) | |
| Nicolas Duvauchelle | ... | Manuel Vial | |
| William Nadylam | ... | Chérif, le maire | |
| Adèle Ado | ... | Lucie, la femme d'André | |
| Ali Barkai | ... | Jeep, le chef des enfants rebelles | |
| Daniel Tchangang | ... | José | |
| Michel Subor | ... | Henri Vial, le propriétaire de la plantation | |
| rest of cast listed alphabetically: | |||
| David Gozlan | ... | Hamudi | |
Directed by | |||
| Claire Denis | |||
Writing credits(in alphabetical order) | ||
| Claire Denis | writer | |
| Marie N'Diaye | writer | |
Produced by | |||
| Pascal Caucheteux | .... | producer | |
Original Music by | |||
| Stuart Staples | |||
Cinematography by | |||
| Yves Cape | |||
Film Editing by | |||
| Guy Lecorne | |||
Casting by | |||
| Richard Rousseau | |||
Production Design by | |||
| Abiassi Saint-Père | |||
Costume Design by | |||
| Judy Shrewsbury | |||
Makeup Department | |||
| Pierre Olivier Persin | .... | special makeup effects artist | |
| Antonella Prestigiacomo | .... | key hair stylist | |
Production Management | |||
| Albert Blasius | .... | production manager | |
| Laurencina Lam | .... | post-production manager | |
| Thibault Mattel | .... | unit production manager | |
| Olivier Torion | .... | unit manager | |
Sound Department | |||
| Sandie Bompar | .... | dialogue editor | |
| Fred Mays | .... | post-synchronisation | |
| Jean-Paul Mugel | .... | sound | |
| Josefina Rodríguez | .... | sound editor | |
| Jean-Alexandre Villemer | .... | sound recordist | |
| Christophe Vingtrinier | .... | sound re-recording mixer | |
| Christophe Winding | .... | sound | |
Visual Effects by | |||
| Elodie Glain | .... | visual effects coordinator | |
| Aurélie Villard | .... | digital artist | |
Camera and Electrical Department | |||
| Stéphane Bourgoin | .... | chief electrician: re-shoots | |
| Maxime Cointe | .... | first assistant camera | |
| Mathieu Dequirot | .... | electrician: re-shoots | |
| Martin Levent | .... | second assistant camera | |
| Stéphane Thiry | .... | key grip | |
| Bruno Verstraete | .... | gaffer | |
| Sylvain Zambelli | .... | first assistant camera: re-shoots | |
Editorial Department | |||
| Sandie Bompar | .... | assistant editor | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb France section | Add this title to MyMovies |
White Material is a troubling film that reminded me of Francis Ford Coppola's reading of Conrad's Heart of Darkness, i.e. not as psychological allegory but as fable for pertinent updating. The story revolves around the central figure of Marie, a white European African farm owner, who blindly refuses to acknowledge the danger of increasingly volatile local social unrest. Claire Denis spins a grander web from this precarious situation, invoking the precarious relationships that Marie supports and connects: a one-woman lynch-pin of love, industry and care.
I have not seen the recent Home or Gabrielle, to name two well-received recent performances from Huppert, but for me this is a very significant, form performance from the celebrated French actress. It is her sort of role to be sure: realist, serious, preoccupied, veiled. In addition I enjoyed her free physicality and lack of self-consciousness, helped no doubt by Denis' free camera-work, which often involves chasing Huppert around (her character is driving the film so Denis allows her to literally pull the action along).
Space is created for Marie's son to become the terminally dysfunctional, un-rooted wreck that others allude to, although he inspires no pity. Christopher Lambert, the father, is a marginal but clearly a more urbane figure whose absence tells you all you need to know about his relationship to the work-centred Marie. The supporting cast of native Africans are, unusually, all very good (in location films, there are often a number of local 'actors' who don't live up to the description) notably William Nadylam's Chérif with his Ejiofor-like self-possession and stillness. This film also has the distinction of having the most nausea-inducing child-murder sequence I've ever seen - or, more to the point, heard. 7/10