The Edge of the Blade
2023 | 101m | French
Popularity: 0.7 (history)
| Director: | Vincent Perez |
|---|---|
| Writer: | Vincent Perez, Karine Silla |
| Staring: |
| In 1887, at a time when duels are in vogue in Paris, Clément Lacaze and Marie-Rose Astié meet. He's a charismatic master of arms; she's a feminist, far ahead of her time. Clément gets caught in a spiral of violence and decides to initiate Marie-Rose in the art of dueling. The two must work together to save face. How far will they go to defend their honor? | |
| Release Date: | Dec 27, 2023 |
|---|---|
| Director: | Vincent Perez |
| Writer: | Vincent Perez, Karine Silla |
| Genres: | History, Drama |
| Keywords | |
| Production Companies | Gaumont, France 2 Cinéma |
| Box Office |
Revenue: $0
Budget: $0 |
| Updates |
Updated: May 22, 2026 Entered: May 16, 2025 |
| Name | Character |
|---|---|
| Roschdy Zem | Clément Lacaze |
| Doria Tillier | Marie-Rose Astié de Valsayre |
| Vincent Perez | Louis Berchère |
| Guillaume Gallienne | Eugène Tavernier |
| Damien Bonnard | Ferdinand Massat |
| Noham Edje | Adrien Lacaze |
| Pepe Lorente | Gustavo De Borda |
| Myriem Akheddiou | Louise |
| Eva Danino | Marguerite |
| Nicolas Gaspar | Témoin Massat |
| Iman Perez | Anaïs |
| Manda Touré | Latina |
| Christophe Seureau | Le directeur de combat |
| Name | Job |
|---|---|
| Vincent Perez | Screenplay, Director |
| Stéphanie Seilhean | Second Assistant Director |
| Sylvie Lager | Editor |
| Alexandra Becquet | Additional Hairstylist |
| Lucrèce Touret | Makeup Artist |
| Pierre-Emmanuel Chatiliez | Storyboard Artist |
| Flora Kuentz | Assistant Property Master |
| Warina Contreras Ramos | Second Assistant Art Director |
| Florian Cornet | ADR Supervisor |
| Nicolas Moreau | Sound Editor |
| Thomas Pichon | Foley Editor |
| Lisa Girardeau | Visual Effects Coordinator |
| Aurelie Lajoux | Visual Effects Supervisor |
| Pierre Carbonnier | Stunt Double |
| Michel Carliez | Fight Choreographer, Stunt Coordinator |
| Pennanec'h Julien | Stunt Double |
| Stéphane Aupetit | Steadicam Operator |
| David Bigard | Rigging Grip |
| Thibault Bru | Electrician |
| Carl Demaille | Grip |
| Clémence Gillard | Second Assistant Camera |
| Angèle Laroche | Best Boy Electric |
| Marin Payot | Assistant Camera |
| François-Xavier Walter | Key Rigging Grip |
| Clément Bottier | Assistant Costume Designer |
| Sacha Galperine | Original Music Composer |
| Frédéric Balmer | Special Effects Makeup Artist |
| Karine Silla | Screenplay |
| James Canal | First Assistant Director |
| Lucie Baudinaud | Director of Photography |
| Michaël Laguens | Casting |
| Madeline Fontaine | Costume Design |
| Charlotte Renault | Assistant Production Manager |
| Thibault Goupil | Property Buyer |
| Eliane Lorthiois | Property Buyer |
| Lucien Balibar | Sound |
| Olivier Guillaume | Sound Re-Recording Mixer |
| Olivier Touche | Sound Editor |
| Paul Bourcart | Weapons Master |
| Eva Loncke | Visual Effects Coordinator |
| Jacob Rogers | Digital Compositor |
| Vincent Haquin | Stunts |
| Marie Sergeant | Stunt Double |
| Rémy Barbot | Gaffer |
| Hugo Bouhier | Electrician |
| Alexis Cohen | First Assistant Camera |
| Guy Ferrandis | Still Photographer |
| Charles Lagorce | Grip |
| Alan Le May | Rigging Grip |
| Gwendal Quistrebert | Rigging Gaffer |
| Marc Wilhelm | Key Grip |
| Maryna Zavelia | Production Assistant |
| Evgueni Galperine | Original Music Composer |
| Jean-Philippe Moreaux | Production Design |
| Justine Fiorito | Makeup Artist |
| Name | Title |
|---|---|
| Marc Vade | Executive Producer |
| Sidonie Dumas | Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 10 | 22 | 2 |
| 2024 | 5 | 11 | 18 | 7 |
| 2024 | 6 | 12 | 24 | 5 |
| 2024 | 7 | 14 | 24 | 6 |
| 2024 | 8 | 8 | 13 | 6 |
| 2024 | 9 | 7 | 11 | 4 |
| 2024 | 10 | 7 | 12 | 4 |
| 2024 | 11 | 7 | 9 | 4 |
| 2024 | 12 | 7 | 10 | 4 |
| 2025 | 1 | 8 | 11 | 4 |
| 2025 | 2 | 6 | 9 | 2 |
| 2025 | 3 | 3 | 7 | 1 |
| 2025 | 4 | 1 | 1 | 1 |
| 2025 | 5 | 20 | 34 | 0 |
| 2025 | 6 | 3 | 5 | 1 |
| 2025 | 7 | 1 | 1 | 0 |
| 2025 | 8 | 1 | 1 | 0 |
| 2025 | 9 | 1 | 2 | 0 |
| 2025 | 10 | 1 | 2 | 1 |
| 2025 | 11 | 1 | 2 | 0 |
| 2025 | 12 | 2 | 6 | 0 |
| 2026 | 1 | 0 | 1 | 0 |
| 2026 | 2 | 0 | 2 | 0 |
| 2026 | 3 | 0 | 1 | 0 |
Trending Position
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 8 | 987 | 987 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 5 | 183 | 507 |
With the twentieth century looming, duelling was banned in France. However, as many still considered it the only honourable way to settle disputes between gentlemen, it still went on pretty much unfettered. Swordsmanship skills were still highly sought after, and one such master “Lacaze” (Roschdy Ze ... m) attracted many to the school of his friend “Tavernier” (Guillaume Gallienne). His naive nephew, “Adrien” (Noham Edje), meantime, has taken a shine to a young lady and when that leads to an altercation with “Col. Berchère” (auteur Vincent Perez), it seems the latter man is determined to demand reparation. Facing a fairly hopeless task, he turns to his uncle for help, but what chance he can do much to help in the forty-eight hours allowed before the fight? On the other side of the city, feminist “Astié” (Doria Tiller) is fed up being told that she can’t wear trousers without a prefectorial edict! She writes pithy and sarcastic letters to the newspapers, but is usually derided by the likes the pompous publisher “Massat” (Damien Bonnard). Hearing of the duel, and of it’s subsequent result, she decides that there is no reason why women can’t demand satisfaction, so challenges “Massat”. Of course he cannot fight a woman, but this starts in motion a scheme that might see “Lacaze” exact his own form of retribution - one of a juicily humiliating kind. I quite enjoyed this dramatisation as it quite successfully ridiculed the sexism that existed at the time, and the nonsensical notions of “honour” amongst cowards, thieves and bigots. Tiller delivers engagingly as she mixes her politics with a sexy femininity and a decent right hook; Zem hasn’t much to say but maybe represents the last few remnants of what might once have been called chivalry and the production design provides for a convincing setting for épée, pistol and even the sabre to be rattled. There’s a tiny bit of romance, but not enough to intrude as we watch some occasionally quite impressive demonstrations of swordplay - complete with affectations, acrobatics and flamboyance.