With nuclear war looming, a military expert in underwater acoustics strives to prove things aren’t as they seem—or sound—using only his ears.
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Credits: TheMovieDb.

Film Cast:

• Chanteraide: François Civil
• D’Orsi: Omar Sy
• Alfost: Mathieu Kassovitz
• Grandchamp: Reda Kateb
• Diana: Paula Beer
• Second SNLE-B2R: Alexis Michalik
• Commander CIRA: Jean-Yves Berteloot
• Navigation officer SNLE: Damien Bonnard
• Sonar watchman SNA: Pierre Cevaer
• Cadet SNA: Sébastien Libessart
• Table operator SNA: Paul Granier
• Plant master: Etienne Guillou-Kervern
• Elaboration SNA: Guillaume Duhesme
• Coxswain SNA: Simon Thomas
• Torpedo operator SNA: Bastien Ughetto
• Cadet SNLE: Marc Ruchmann
• Shooting officer SNLE: Nicolas Van Beveren
• Central master SNLE: Sébastien Landry
• Elaboration SNLE: Sylvain Loreau
• Torpedo operator SNLE: Arthur Choisnet
• Cotac SNLE: Léopold Bara
• Head of PC middle SNLE: Arnaud Churin
• Cerrudon SNLE: Brice Ormain
• Squadron leader: Guillaume Clement
• Captain: Stefan Godin
• Chief of Staff of the President: Philippe Maymat
• Cotac: Jonathan Devred

Film Crew:

• Casting: Pierre-Jacques Bénichou
• Sound Re-Recording Mixer: Juan Peralta
• Editor: Saar Klein
• Sound: Nicolas Cantin
• Supervising Sound Editor: Randy Thom
• Stunt Coordinator: Philippe Guégan
• Producer: Jérôme Seydoux
• Director of Photography: Pierre Cottereau
• Production Design: Benoît Barouh
• Costume Designer: Mimi Lempicka
• Producer: Alain Attal
• Special Effects Technician: Charles-Axel Vollard
• Visual Effects Supervisor: Pierre Buffin
• Co-Costume Designer: Judy Shrewsbury
• Co-Producer: Hugo Sélignac
• Extras Casting: Franck Jouard
• Dialogue Editor: Olivier Goinard
• Underwater Camera: Jacques Ballard
• Sound Effects Editor: Frank E. Eulner
• Sound Re-Recording Mixer: Vincent Cosson
• Camera Operator: Steven Desbrow
• Sound Effects Editor: Luke Dunn Gielmuda
• Sound Effects Editor: Scott Guitteau
• Foley Artist: Andrea Gard
• Foley Editor: E. Larry Oatfield
• Sound Re-Recording Mixer: Pete Horner
• Music Editor: Jonathon Stevens
• Supervising Sound Editor: Leff Lefferts
• Art Direction: Christophe Couzon
• Script Supervisor: Olivia Bruynoghe
• Visual Effects Supervisor: Geoffrey Niquet
• Costume Assistant: Anaïs Guglielmetti
• Costume Supervisor: Camille Janbon
• Armorer: Marc Leroyer
• Special Effects Supervisor: Georges Demétrau
• Foley Mixer: Frank Rinella
• Foley Artist: Ronni Brown
• Supervising Armorer: Christophe Maratier
• Still Photographer: Julien Panié
• Key Makeup Artist: Nelly Robin
• Extras Casting: Léa Coquin
• Editor: Nassim Gordji Tehrani
• Sound Editor: Juliette Heintz
• Sound: Thomas Desjonquères
• Foley Artist: Kimberly Patrick
• Aerial Coordinator: Luc Poullain
• Assistant Art Director: Julie Plumelle
• Foley Editor: Shaun Farley
• Assistant Art Director: Clémence Janesky
• First Assistant Camera: Jean Legrand
• Boom Operator: Damien Luquet
• Music Supervisor: Elise Luguern
• Russian Arm Operator: Bart de Haan
• Stunt Coordinator: Pascal Guégan
• Costumer: Marta Rossi
• Visual Effects Producer: Julien Cimino
• Visual Effects Producer: Philippe Lépine
• Visual Effects Coordinator: Christ Ohoueu
• Producer: Ardavan Safaee
• Key Grip: Erwan Becquelin
• Visual Effects Supervisor: Julien Mercier
• Assistant Art Director: Katia Espiand
• Writer: Antonin Baudry
• Swing: Gaël Langlais
• Sound: Raphaël Mouterde
• Original Music Composer: tomandandy
• Sound Effects Editor: Guillaume D’Ham
• Costume Assistant: Perrine Ritter
• Gaffer: Olivier Pilorget
• Graphic Designer: Teddy Barouh
• Music Supervisor: Pierre-Marie Dru
• First Assistant Director: Thierry Verrier
• Set Decoration: Muriel Chinal
• Makeup Artist: Fanny Fallourd
• Assistant Art Director: Adrien Ernandez
• Assistant Art Director: Simon Witte
• Best Boy Electric: Maxime Guibert
• Best Boy Grip: Joseph Emiélot
• Camera Operator: Julien Bureau
• First Assistant Camera: Olivier Leblanc
• Second Assistant Camera: Louise Blum
• Third Assistant Camera: Sophie Patalano
• Assistant Editor: Adrien Fonda
• Assistant Editor: Anaïs Manuelli
• Assistant Editor: Nicolas Pangos
• First Assistant Editor: Léa Lagréou
• Visual Effects Producer: Justine Paynat-Sautivet
• Special Effects Technician: Sara Helmlinger
• Casting Associate: Erwan Dujardin
• Extras Casting: Alexis Vesigot-Wahl
• Boom Operator: Baptiste Kleitz
• Dolby Consultant: Florent Denizot
• Dolby Consultant: Dominique Schmit
• First Assistant Sound Editor: Chris Frazier
• Construction Coordinator: Frédéric Martin
• Set Designer: Marine Gatellier
• Production Coordinator: Audrey Mery

Movie Reviews:

• Per Gunnar Jonsson: Me and my kids where shopping for other stuff at FNAC in Geneva, our go to store for not too advanced stuff in audio, video and computer gadgets, when we found this movie.

  I made a quick search on IMDb and it looked like it might, finally, be a good French made movie. Apart from Louis de Funès comedies that is, I really love most of those.

  Well, it turned out to be a huge disappointment. I guess I should have checked a bit more. For instance the fact that the oxygen wasting “critics” at Rotten SJW Tomatoes gave it a 100% rating should have been a red flag. Or maybe the ludicrous non-descriptive one liner description of the movie. I mean, it’s like buying a car from a dealer that says “It’s a cool car”.

  Well, in my gaming days I was a great fan of submarine simulators, especially WW2 ones, so I guess I got suckered.

  For starters, the premise of the movie itself, once you start watching that is, is nonsensical. One, I say ONE, missile is fired against French territory, it is assumed to be nuclear, no real evidence, and France decides to retaliate while said missile is still in flight. Seriously?

  That’s something that North Korea would do. Not a civilized country and despite the fact that France right now has the worst president in modern history I would still say France counts as a civilized country.

  The the movie starts with some “action” and here we are immediately shown that the writer is totally clueless as far as any form of military procedures, strategy or … well.. whatever. A nuclear submarine surfaces, the captain, the CAPTAIN, goes up in the conning tower and fires a hand held SAM on a chopper sent from a destroyer nearby. Oh, by the way, he forgot to remove the safety on the first try. The destroyer does absolutely nothing during this exchange. You’re fucking kidding me ???

  Then the movie spends a shitload of time with the hero moping and moaning and being unfairly treated by the hierarchy. The film got really boring at this point. The one good part is that the superior officers, at the end, is actually the most competent characters in the movie.

  When the action finally starts again it’s … well the same crap as before. Utterly unbelievable and totally unrealistic. Even the dumbass president Macron would, hopefully, known that a nuclear strike cannot be called off just like that. And when it finally comes to blows, for some reason, the “enemy” submarine has all kinds of countermeasures while the “good guys” never launches any. As I wrote before, the writer is clueless.

  It’s just a incredibly bad movie. Full stop!

• SWITCH.: There is a large section of the film set out of the water, but once back under the waves it moves more quickly, the story putting all its weight on Chanteraide’s ears. If you’re howling for a slice of Tom Clancy-esque military action cheese, you’ll enjoy ‘The Wolf’s Call’.
  – Jake Watt

  Read Jake’s full article…
  https://www.maketheswitch.com.au/article/review-the-wolfs-call-suspense-silliness-and-sonar-sweeps