Five-time César-nominee Lucas Belvaux (b. 1961) is a former leading and supporting actor, much sought after in France since the early 1980s, who gradually turned to screenwriting and directing with films such as his inventive “Trilogy” (2002), which included “Cavale” (thriller, a.k.a. “On the Run”), “Un couple épatant” (comedy, a.k.a. “An Amazing Couple”) and “Après la vie” (drama, “After Life”)—three films with interlocking stories, each filmed in a different genre.

His most recent efforts as screenwriter-director are “Pas mon genre” (“Not My Type,” 2014) and his latest, the French-Belgian political drama “Chez Nous” (“This Is Our Land,” 2017), both with Émilie Dequenne in the leading role and as the driving force of films which have something substantial to say about the location where they are filmed, the characters Mr. Belvaux introduces delicately and the stories he always tells truthfully and convincingly. They keep him in the spotlight as one of the brightest, most original, and most persuasive filmmakers of the European continent.

While both films are interesting, intriguing, and intelligent dramas, solid as a rock and hitting their mark at once, Belgian-born Mr. Belvaux explains there’s more to it that connects both films when we meet at the Belgian RTBF television studios, to talk about “Chez nous.” Earlier, the film, about a nurse living and working in northeast France who becomes involved in a far-right political party, premiered at film festivals in Lyon and Rotterdam and was widely praised, including by The Hollywood Reporter as you can read here in their February 9 review.

Mr. Belvaux, how did the initial idea of “Chez nous” come about?

The idea of “Chez nous” was a result of my previous film, “Pas son genre” [a.k.a. “Not My Type,” 2014], which told the story of a beautiful and popular hair stylist [portrayed by Émilie Dequenne] who was a generous, sympathetic, and intelligent character—one that I really liked. We shot that film during the elections in the same French region as “Chez nous,” and at the time, we noticed that the polls indicated that thirty to forty percent would be ‘popular votes.’ So I thought, what if this hair stylist would also vote for a political party like that? It would be interesting to make a film with a character similar to her—a woman with the same qualities; she could be her sister or her niece—who gets involved in a story such as the one in “Chez nous.” So it seemed pretty logical to me to write the screenplay with Émilie in mind as the actress playing the leading character.

The origins of “Chez nous” can be traced back to “Pas son genre” (2014), also starring Émilie Dequenne

Where and how did you get the inspiration for the other characters, the situations and the dialogues for “Chez nous”?

I had Émilie to start with. I had also read ‘Le Bloc’ [2011], a book written by Jérôme Leroy, who co-wrote the screenplay, and in his book he told the story of the far-right. That provided me with the structure of the film which I still didn’t have up until then. So I decided to mix my initial idea with the book. That was basically it. When I write my screenplays, I always start in the morning, I imagine where the characters are, what the setting is, what they could do and say to each other, where the story should lead to—things like that. From the beginning, I wanted the leading character to be a family nurse; she had to be social, she would be confronted every day with several unexpected situations, and that’s how I was able to construct the story. When I had finished my first draft in collaboration with Jérôme Leroy, we showed it to my producer. There were three people involved to give me any feedback I needed: Jérôme, my producer, and my wife.

Was it easy to get the film financed?

I have been very privileged for about fifteen years now: my films are always financed by the same financial structure and the same partners, and we get along very well. And I can work on a tight shooting schedule, that helps. For “Chez nous,” it took me about three to four months to get the film financed. We didn’t have much time because I wanted to get the film out before the presidential elections. There really was no time to lose. But it worked out fine, as I had hoped and planned, and I am very pleased with the outcome.

There are some actors you obviously like to work with, like Émilie Dequenne or Patrick Descamps. How did you cast the other roles?

Yes, Émilie and Patrick as the father were already decided early on. I knew Anne Marivin; I hadn’t worked with her, but I knew she would be perfect for the role of the girlfriend, Nathalie. Charlotte Talpaert [Nada in the film] was also cast right away, as were a few other actors. But for a number of other characters, including the part played by André Dussollier, I had no idea, so I got in touch with a casting agency who suggested me the actors we ultimately cast.

Once the casting is done, how do you get to work with your actors? Do you have a specific method to rehearse, or allow them to improvise, things like that?

My screenplays don’t really allow much room for improvisation. They are well-structured, everything is in balance, the rhythm is there, and the dialogue and the words are carefully chosen. In real life, you also know what you’re about to say when you’re having a conversation with other people, so it feels natural that when the actors know their lines and know exactly what to say when the camera starts rolling. We do talk a lot about the characters, their background, every tiny detail—whatever the actors wish to know—and we only rehearse on the set. That’s where we shoot the scenes, so that’s the real thing, you know. They’re on the set, the camera is there, the lights, etc.

Are there any directors who have inspired you in any way? When you were still acting, you worked with Claude Chabrol, Jacques Rivette…?

You learn from everyone you work with, even though you’re not always aware of it. Being an actor for so many years turned out to be a wonderful training ground for me, but I also learned a lot from directors most people never even heard of, like Alain Bergala, who was a critic as well—he has been editor of Cahiers du Cinéma, was a professor, and he made a few films. I also worked with him, that was a tremendous learning experience. Claude Chabrol taught me a lot about how to direct actors, how to make them feel comfortable. Jacques Rivette liked to improvise, but he had a much tougher approach. I can’t really say that I learned anything from him. Olivier Assayas once told me that he learned all about movies while writing about them, which makes a lot of sense to me.

He’s been making English-language co-productions lately and will be working in America as well. Would you also be interested to cross the Atlantic and make films over there?

You know, I don’t have this fantasy or this dream to go over there. I am perfectly happy to make my films here in France or in Belgium. My English is pretty poor, so there’s this language barrier to start with. And also, the American production system would make it difficult for me, I think. I like the way I can work here with my producers, the actors, and the technicians, so there’s really no reason at all for me to leave.

Maybe you get a lot of freedom in France, carte blanche even?

Yes, they do give me a lot of freedom, but that doesn’t exclude any compromises. I remember the first film I directed [“Parfois trop d’amour,” 1992]. I had total autonomy, but when it was released, it turned out to be a catastrophe. Later on, I realized why. It certainly wasn’t perfect, but also not appealing at all. I didn’t do any efforts to convince the audience to like it. I knew that I would only make two films if I didn’t change my approach drastically. So I reflected, looked back at the directors that I really liked, including those who worked in Hollywood in the 1930s and 1940s, like John Ford, Billy Wilder, or Ernst Lubitsch. Their working conditions were very restricted within the confines of the studio system, and yet, they were able to make films that were not only terribly well-made, but they also reflected their own personality. Those films really showed they did have a lot of creative freedom. They proved you can make a film entirely of your own as a personal statement, you can be the author of a film and in the meantime not make too many sacrifices to make sure your films are appreciated. So from my point of view—and from what I learned after my first film—you have to make compromises all the time. That’s the reality you have to live with: making movies costs a lot of money, it’s an expensive business. If you, for example, hope to shoot your film in nine weeks, and you only have the budget to shoot eight weeks, that’s no problem. That’s a perfectly reasonable compromise. When I made the “Trilogy” films, I had to make several compromises, otherwise, I would never have been able to make them. If I had three more weeks, though, I think I would have made them better than they are now. But that’s something you have to deal with—at least I was able to make those films. It is the same with “Chez nous” which is an important project to me: I don’t know how it will turn out. If we get great reviews, that’s wonderful. If they are less favorable, then it can’t get any worse than that. It always keeps your feet on the ground. But I am happy to make the films I like to do, and work with the actors I prefer to work with. I take great pride in the fact that my producers have never lost any money on my films so far. That’s very gratifying. I wouldn’t like to throw one of my producers overboard just for the sake of a film. That would be very unwise.

Are you already working on a next project?

No. For the first time in twenty-five years, I have nothing new on my hands right now. That’s because I was focused entirely on “Chez nous” the whole time. I haven’t been doing anything else so far. After I finished “Pas son genre,” I did a TV movie [“La fin de la nuit,” 2015], and right after I had edited that one, I started writing the screenplay of “Chez nous.” And that’s less than two years ago. This means that in less than two years, I wrote, shot, edited and released a film. We wrapped up the production by January 13, and here we are now, a month and a half later. So I’ve been living and working on an extremely tight and hectic schedule, and didn’t have any time to think about ‘what’s next?’

Can “Chez nous” be considered to be your most personal film?

It’s a very important project for me, but so are my other films. Each film I did is a part of me. I make all of my films with the same dedication, with the same honesty. Even though “Chez nous” was not entirely an original screenplay of mine, since I worked with Jérôme Leroy and his book, I always look for the same ingredients: you can entertain an audience, but when they leave the theater, it’s always nice if you have given them something—or something new—to think about. Like a wonderful piece of music or a great book can move people, cinema has exactly the same value and importance.

Brussels (Belgium),
February 24, 2017

“Chez nous” (2017, trailer)

FILMS

ALLONS Z’ENFANTS (1981) DIR Yves Boisset SCR Yves Boisset, Jacques Kirsner (novel by Yves Gibeau) CAM Pierre-William Glenn ED Albert Jurgenson MUS Philippe Sarde CAST Lucas Belvaux (Simon Chalumot), Jean Carmet, Jean-Pierre Aumont, Jean-François Stévenin, Jacques Denis, Eve Cotton

LA TRUITE, a.k.a. THE TROUT (1982) DIR Joseph Losey PROD Yves Rousset-Rouard SCR Joseph Losey, Monique Lange (novel by Roger Vailland) CAM Henri Alekan ED Marie-Castro Vasquez MUS Richard Hartley CAST Isabelle Huppert, Jean-Pierre Cassel, Jeanne Moreau, Daniel Olbrychski, Jacques Spiesser, Isao Yamagata, Craig Stevens, Alexis Smith, Lucas Belvaux (Clerk)

LA MORT DE MARIO RICCI, a.k.a. THE DEATH OF MARIO RICCI (1983) DIR Claude Goretta SCR Claude Goretta, Georges Haldas CAM Hans Liechti ED Joële Van Effenterre MUS Arié Dzierlatka CAST Gian Maria Volontè, Magali Noël, Heinz Bennent, Mimsy Farmer, Jean-Michel Dupuis, Michel Robin, Lucas Belvaux (Stéphane Couyaz), Claudio Caramaschi

RONDE DE NUIT, a.k.a. NIGHT PATROL (1984) DIR Jean-Claude Missiaen PROD Alain Sarde SCR Jean-Claude Missian (story by Jean-Claude Missian, Marc Perrier, Claude Veillot) CAM Pierre-William Glenn ED Armand Psenny MUS Hubert Rostaing, Yvan Jullien CAST Gérard Lanvin, Eddy Mitchell, Françoise Arnoul, Raymond Pellegrin, Lisette Malidor, Lucas Belvaux (Laurent)

LA FEMME PUBLIQUE, a.k.a. THE PUBLIC WOMAN (1984) DIR Andrzej Zulawski PROD Rene Cleitman SCR Andrzej Zulawski, Dominique Garnier (novel by Dominique Garnier) CAM Sacha Vierny ED Marie-Sophie Dubus MUS Alain Wisniak CAST Francis Huster, Valérie Kaprisky, Lambert Wilson, Patrick Bauchau, Giselle Pascal, Lucas Belvaux (François)

AMERICAN DREAMER (1984) DIR Rick Rosenthal PROD Doug Chapin SCR Jim Kouf, David Greenwalt (story by Ann Biderman) CAM Giuseppe Rotunno, Jan de Bont ED Anne Goursard MUS Lewis Furey CAST JoBeth Williams, Tom Conti, Giancarlo Giannini, Coral Browne, James Staley, C.B. Barnes, Lucas Belvaux (Thief on Bike)

LA FEMME IVOIRE (1984) DIR Dominique Cheminal SCR Dominique Cheminal, Sylvie Moinet CAM Jean Orjollet MUS Jean-Marie Sénia CAST Lucas Belvaux (Maurice), Dora Doll, Sylvie Granotier, Roland Blanche, Céline Valérie, Maurice Chevit

POULET OU VINAIGRE (1985) DIR Claude Chabrol PROD Marin Karmitz SCR Claude Chabrol, Dominique Roulet (novel by Dominique Roulet) CAM Jean Rabier ED Monique Fardoulis MUS Matthieu Chabrol CAST Jean Poiret, Stéphane Audran, Michel Bouquet, Jean Topart, Lucas Belvaux (Louis Cuno), Pauline Lafont, Caroline Cellier, Josephine Chaplin

LE BASTON (1985) DIR Jean-Claude Missiaen PROD Denise Petitdidier SCR Jean-Claude Missiaen, Jacques Labib CAM Jean-Claude Vicquery ED Armand Psenny MUS Yvan Jullien, Hubert Rostaing Trust CAST Robin Renucci, Véronique Genest, Gérard Desarthe, Michel Constantin, Patrick Depeyrrat, Lucas Belvaux (Jeanjean Levasseur), Natacha Inutine

HURLEVENT, a.k.a. WUTHERING HEIGHTS (1985) DIR Jacques Rivette PROD Martine Marignac SCR Jacques Rivette, Pascal Bonitzer, Suzanne Schiffman (novel ‘Wuthering Heights’ by Emily Brontë) CAM Renato Berta ED Nicole Lubtchansky CAST Fabienne Babe, Lucas Blevaux (Roch), Sandra Montaigu, Alice de Poncheville, Olivier Cruveiller, Philippe Morier-Genoud

DÉSORDRE, a.k.a. DISORDER (1986) DIR – SCR Olivier Assayas PROD Claude-Éric Poiroux CAM Denis Lenoir ED Luc Barnier MUS Gabriel Yared CAST Wadeck Stanczak, Ann-Gisel Glass, Lucas Belvaux (Henri), Rémi Martin, Corinne Dacla, Simon de la Brosse, Etienne Chicot

LE LOI SAUVAGE (1988) DIR Francis Reusser SCR Jacques Guhl CAM Emmanuel Machuel CAST Michel Constantin, Lucas Belvaux (Luc / Gandhi), Hélène Lapiower, Jean Boissery, Roland Armstutz

L’AIR DE RIEN, a.k.a. EASY IN MIND (1989) DIR – SCR Mary Jimenez PROD Benoît Lamy CAM Raymond Fromont ED Philippe Bourgueil MUS Thierry De Mey CAST Carole Courtoy, Gabriel Arcand, Josse De Pauw, Lucas Belvaux (Francis), Bernadette Lafont, Eugénie De Mey, Maria de Medeiros

TROIS ANNÉES (1990) DIR Fabrice Cazeneuve PROD Jacques Kirsner SCR Fabrice Cazeneuve, Jacques Tournier (short story by Anton Chekhov) CAM Pierre-Laurent Chénieux ED Yann Dedet MUS Michel Portal CAST Sabine Azéma, Jacques Villeret, Philippe Volter, Lucas Belvaux (Pilou), Claude Bouchery, Christine Cohendy

MADAME BOVARY (1991) DIR Claude Chabrol PROD Marin Karmitz SCR Claude Chabrol (novel by Gustave Flaubert) CAM Jean Rabier ED Monique Fardoulis MUS Matthieu Chabrol, Jean-Michel Bernard, M.J. Coignard-Helison CAST Isabelle Huppert, Jean-François Balmer, Christophe Malavoy, Jean Yanne, Lucas Belvaux (Léon Dupuis), Christiane Minazolli, Jean-Louis Maury, Thomas Chabrol

PARFOIS TROP D’AMOUR (1992) DIR – SCR Lucas Belvaux PROD Jean-Jacques Andrien CAM Bertrand Chatry ED Valérie Loiseleux MUS Lee Clayton, Christian Monheim CAST Joséphine Fresson, Bernard Mazzinghi, David Martin, Francis Bouc, Lucas Thierry

GRAND BONHEUR, a.k.a. GREAT HAPPINESS (1993) DIR – SCR Hervé Le Roux PROD Humbert Balsan CAM Sophie Caretta, Antoine Roch, Jean-René Duveau ED Lise Truong, Nadine Tarbouriech, Marie Lecoeur MUS Charlotte Léo, Pierre Gérard, Pierre Berriau, Christine Vouilloz, Lucas Belvaux (Luc), Marilyne Canto, Nathalie Richard

POUR RIRE!, a.k.a. JUST FOR LAUGHS (1996) DIR – SCR Lucas Belvaux PROD Paolo Branco CAM Laurent Barès ED Danielle Anezin MUS Riccardo Del Fra CAST Ornella Muti, Jean-Pierre Léaud, Antoine Chappey, Tonie Marshall, Philippe Fretun, Bernard Mazzinghi, Benoît Poelvoorde, Gilbert Duclos-Lassalle

SORRISI ASMATICI – FIORI DEL DESTINO (1997) DIR – SCR Tonino De Bernardi CAM Tommaso Borgstrom CAST Lucas Belvaux, Lou Castel, Giulietta De Bernardi, Ines de Medeiros, Manuela Giacomini, Ivano Marescotti

ON APPELLE ÇA… LE PRINTEMPS, a.k.a. THEY CALL THIS… SPRING (2001) DIR – SCR Hervé Le Roux PROD Gilles Sandoz CAM Pierre Milon ED Nadine Tarbouriech CAST Maryline Canto, Maryse Cupaiolo, Marie Matheron, Bernard Ballet, Pierre Berriau, Lucas Delvaux (Luc)

CAVALE, a.k.a. ON THE RUN (2002) DIR – SCR Lucas Belvaux PROD Patrick Sobelman, Diana Elbaum CAM Pierre Milon ED Ludo Troch MUS Riccardo Del Fra CAST Lucas Belvaux (Bruno Le Roux), Catherine Frot, Dominique Blanc, Ornella Muti, Gilbert Melki, Patrick Descamps

UN COUPLE ÉPATANT, a.k.a. AN AMAZING COUPLE and TRILOGY: TWO (2002) DIR – SCR Lucas Belvaux PROD Patrick Sobelman CAM Pierre Milon ED Valérie Loiseleux MUS Riccardo Del Fra CAST Ornella Muti, Lucas Belvaux (Pierre), François Morel, Valérie Mairesse, Dominique Blanc, Gilbert Melki, Catherine Frot

APRÈS LA VIE, a.k.a. AFTER LIFE and TRILOGY: THREE (2002) DIR – SCR Lucas Belvaux PROD Patrick Sobelman, Diana Elbaum CAM Pierre Milon ED Danielle Anezin MUS Riccardo Del Fra CAST Dominique Blanc, Gilbert Melki, Lucas Belvaux (Bruno Le Roux), Ornella Muti, Catherine Frot, François Morel

DEMAIN ON DÉMÉNAGE , a.k.a. TOMORROW WE MOVE (2004) DIR Chantal Ackerman PROD Paulo Branco SCR Chantal Ackerman, Eric De Kuyper CAM Sabine Lancelin ED Claire Atherton MUS Sonia Wieder-Atherton CAST Aurore Clément, Sylvie Testud, Natacha Régnier, Jean-Pierre Marielle, Lucas Belvaux (Delacre), Dominique Raymond, Elsa Zylberstein

JOYEUX NOEL, a.k.a. MERRY CHRISTMAS (2005) DIR – SCR Christian Carion PROD Christophe Rosignon CAM Walther Vanden Ende ED Judith Rivière Kawa, Andrea Sedlácková MUS Philippe Rombi CAST Diane Krüger, Benno Fürmann, Guillaume Canet, Dany Boon, Gary Lewis, Ian Richardson, Lucas Belvaux (Gueusselin), Gary Lewis, Michel Serrault, Christian Carion

LA RAISON DU PLUS FAIBLE, a.k.a. THE RIGHT OF THE WEAKEST (2006) DIR – SCR Lucas Belvaux PROD Patrick Sobelman, Diana Elbaum CAM Pierre Milon ED Ludo Troch MUS Riccardo Del Fra CAST Éric Caravaca, Lucas Belvaux (Marc Pirmet), Claude Semal, Patrick Descamps, Matacha Régnier, Elie Belvaux, Gilbert Melki, Patrick Sobelman

PARS VITE ET REVIENS TARD, a.k.a. SEEDS OF DEATH and HAVE MERCY ON US ALL (2007) DIR Régis Wargnier PROD Jean-Baptiste Dupont, Cyril Colbeau-Justin SCR Régis Wargnier, Ariane Fert, Harriet Marin, Julien Rappeneau, Lawrence Shore (adaptation by Régis Wargnier, Ariane Fert, Harriet Marin, Julien Rappeneau, Lawrence Shore; novel by Fred Vargas) CAM Laurent Dailland ED Yann Malcor MUS Patrick Doyle CAST José Garcia, Lucas Belvaux (Danglard), Marie Gillain, Olivier Gourmet, Michel Serrault, Nicolas Calazé

L’ARMÉE DU CRIME, a.k.a. ARMY OF CRIME (2009) DIR Robert Guédiguan PROD Dominique Barneaud SCR Robert Guédiguan, Gilles Taurand, Serge Le Péron (adaptation by Gilles Taurand; original idea by Serge Le Péron) CAM Pierre Milon ED Bernard Sasia MUS Alexandre Desplat CAST Simon Abkarian, Virginie Ledoyen, Robinson Stévenin, Lola Naymark, Grégoire Leprince-Ringuet, Adrien Jolivet, Lucas Belvaux (Joseph Epstein)

RAPT (2009) DIR – SCR Lucas Belvaux CAM Pierre Milon ED Danielle Anezin MUS Riccardo Del Fra CAST Yvan Attal, Anne Consigny, André Marcon, Françoise Fabian, Alex Descas, Lucas Belvaux

38 TÉMOINS, a.k.a. 38 WITNESSES and ONE NIGHT (2012) DIR Lucas Belvaux PROD Yvan Attal, Patrick Sobelman, Patrick Quinet SCR Lucas Belvaux (novel by Didier Decoin) CAM Pierric Gantelmi d’Ile MUS Arne Van Dongen CAST Yvan Attal, Sophie Quinton, Nicole Garcia, François Feroleto, Natacha Régnier, Patrick Descamps

PAS SON GENRE, a.k.a. NOT MY TYPE (2014) DIR Lucas Belvaux PROD Patrick Sobelman, Patrick Quinet SCR Lucas Belvaux (novel by Philippe Vilain) CAM Pierric Gantelmi d’Ille ED Ludo Troch MUS Frédéric Vercheval CAST Émilie Dequenne, Loïc Corbery, Sandra Nkake, Charlotte Talpaert, Anne Coesens, Daniela Bisconti, Didier Sandre

CHEZ NOUS, a.k.a. THIS IS OUR LAND (2017) DIR Lucas Belvaux PROD David Frenkel, Patrick Quinet SCR Lucas Belvaux, Jérôme Leroy CAM Pierric Gantelmi d’Ille ED Ludo Troch MUS Frédéric Vercheval CAST Émilie Dequenne, André Dussollier, Guillaume Gouix, Catherine Jacob, Anne Marivin, Patrick Descamps, Charlotte Talpaert

TV MOVIES

QUATRE FEMMES, QUATRE VIES: ÊTRE HEUREUX SANS LE BONHEUR (1981) DIR Jacques Trébouta SCR Hortense Dufour CAST Nicole Courcel, Marice Barrier, Ronny Coutteure, Gérard Darrieu, Lucas Belvaux, Olivier Destrez

LE ROMAN DU SAMEDI: L’AGENT SECRET (1981) DIR Marcel Camus SCR Roger Grenier (novel by Joseph Conrad) CAM Pierre Petit MUS Even de Tissot CAST Michael Lonsdale, Marina Vlady, Lucas Belvaux (Stevie), Jeanne Herviale, Jean-Pierre Sentier

NON RÉCUPÉRABLES (1982) DIR Frank Apprederis SCR Sylvain Joubert MUS Jean Musy CAST Sylvain Joubert, Bernard Fresson, Anne-Marie Besse, Lucas Belvaux (Joël), Jacques Richard, Sheila O’Connor

LE VENT DU NORD (1984) DIR Alain Dhénaut SCR Richard Caron, Geneviève Cluny CAST Georges Géret, Lucas Belvaux (Patrick), Antoinette Moya, Henri Marteau, Totin Liebman, David Reboul

LE PASSAGE (1985) DIR Frank Apprederis SCR Christine Carrel, Jean Patrick MUS Nicolas Peyrac CAST Marie-Christine Barrault, Pierre Vaneck, Jacques Dufilho, Philippe Ogouz, Lucas Belvaux (Lutz), Nicolas Peyrac

LE BANQUET (1989) DIR Marco Ferreri SCR Marco Ferreri, Monique Canto, Radu Mihaileanu, Platon MUS Didier Vasseur CAST Lucas Belvaux (Phèdre), Jean Benguigui, Christian Berthelot, Farid Chopel, Renato Cortesi, Jean-Pierre Kalfon, Irene Papas, Roger Van Hool

INCOGNITO (1989) DIR Alain Bergala SCR Alain Bergala, Philippe Arnaud, Renée Falson CAM Jean-Paul Rose da Costa MUS Eric Dolphy CAST Arielle Dombasle, Lucas Belvaux (Serge), Jean-Pierre Beauviala, Yves Afonso, Gaële Le Roi

DÉRIVES (2001) DIR Christophe Lamotte PROD Arlette Guedj SCR Christophe Lamotte, Pierre Chosson CAM Florence Levasseur ED Benoît Quinon MUS Didier Cattin, Sofiane Gnaba, Benjamin Duvallet, Gillian Boughey CAST Guillaume Gouix, Jacques Spessier, Francis Renard, Ludwig-Stanislas Loison-Robert, Véra Briole, Marina Golovine, Lucas Belvaux (Policeman)

NATURE CONTRE NATURE (2004) DIR Lucas Belvaux SCR Lucas Belvaux, Jean-Luc Gaget CAM Pierre Milon ED Danielle Anezin MUS Riccardo Del Fra CAST Lucas Belvaux (Sébastien Chantoux), Raphaële Godin, Catherine Mouchet, Jacques Spessier, Henri Guybet, Nicolas Silberg, Michèle Silberg

LA FIN DE LA NUIT (2015) DIR Lucas Belvaux PROD Jérôme Clément, Georges-Marc Benamou SCR Lucas Belvaux, Jacques Fieschi (novel by François Mauriac) CAM Éric Guichard ED Ludo Troch MUS Frédéric Verchavel CAST Nicole Garcia, Louise Bourgoin, Amir El Kacem, Sandra Nkake, Bernard Mazzinghi