Tag: PATRICE LECONTE

HACHE, JOËLLE

Joëlle Hache

Born 1950

During her fifty-year career, Joëlle Hache has amassed editing credits for sixty-six films. She began working in 1978 as an assistant to editor Noëlle Boisson on the first two Les Bronzés films directed by Patrice Leconte. In 1983 she became Leconte’s primary editor and worked with him on eighteen films, beginning with Circulez y a rien à voir!. She also influenced the music choices for some of his films, such as Le Parfum d’Yvonne, Monsieur Hire, and Une Promesse. Leconte has said that he considers her “his right-hand woman.” Hache is also known for working with other directors on such films as Camille Claudel (Bruno Nuytten), L’homme fidèle (Louis Garrel), La Melodie (Rachid Hami), Un Jour Fille (Jean-Claude Monod) and in 2025—at the age of 75—she edited Belladone, directed by Alante Kavaite.
Hache has received five nominations for a César award for Best Editing, and in 2016 she became an officer in the Order of Arts and Letters, managed by the French Ministry of Culture, which rewards “people who have distinguished themselves by their creation in the artistic or literary field or by the contribution they have made to the influence of arts and letters in France and in the world.”
About Monsieur Hire, Max Foyzey wrote that “The editing choices by Leconte and editor Joëlle Hache are spectacular, taking us directly to the middle of happenstances, effectively creating an immediacy that moves the the story along in a brisk eighty minutes.”    

COLLIN, FRANÇOISE

Françoise Collin

Born 1937

“Chronique d’un été”—“Chronicle of a Summer” — with her name misspelled.

Françoise Collin began working in 1961 as a co-editor (with Jean Ravel and Néna Baratier) of Chronique d’un été/Chronicle of a Summer, the landmark film by Jean Rouch and Edgar Morin. Between then and 2006, she amassed thirty-two credits for both narratives and documentaries. Her collaboration with Jean-Luc Godard began in 1964 as a co-editor (with Dahlia Ezove and Agnès Guillemot) of Bande à part/Band of Outsiders. Following this, she was co-editor of Une femme mariée/A Married Woman (with Andrée Choty, Agnès Guillemot and Gérard Pollicand). Collin was sole editor of Godard’s next film, Pierrot le Fou and then co-editor of Made in U.S.A. (with Agnès Guillemot) and co-editor of 2 ou 3 choses que je sais d’elle/Two or Three Things I Know About Her (with Chantal Delattre).
Collin continued editing with numerous other directors, including Jean Aurel, Pierre Koralnik, José Varela, Anna Karina and François Dupeyron. Between 1999-2005, she edited three films for Philippe Garrel (Le vent de la nuit/Night Wind, Sauvage innocence/Wild Innocence and Les amants réguliers/The Regular Lovers). When Collin cut Histoire naturelle for the director and actress Ysé Tran in 2006, it was the culmination of an editing career that lasted forty-four years.
There is also one listing on the (often unreliable) internet of a documentary from 2011, Rua Diamantina Rosa, that lists her as the director but I haven’t found any other evidence to support it, and a different website spells the director’s name as Coullin.

Note: You can read more about the seventeen women editors who collaborated with Jean Rouch here.

There isn’t a single photograph of Collin to be found in any archive or anywhere online. One can find images online, but they’re all of a same-named French philosopher. So here instead is the screen credit from her first film—above, in which her name is misspelled —and one from a later film.

“Une femme mariée” — “A Married Woman”
It’s notable here that she gets a credit on the poster. Often they only list the DP and the composer, in addition to the director and the actors.