Continuity mistake: The position and intactness of the biscuits changes between shots, as Louison puts the sugar pot on the biscuit plate because the tea begins to overspill from the cup. (00:27:20)
Visible crew/equipment: When Louison first enters Julie's apartment, for tea, as Julie walks him over to his chair, reflected in the glass cabinet up on the wall is a boom operator walking backward, holding the boom. (00:24:25)
Continuity mistake: When Louison is fixing the bed with the squeaky springs, watch the large pile of clothes which sit on the chair at the foot of the bed. Between shot the heap changes position. (00:36:30)
Continuity mistake: When the man puts the sacks of grain on the counter, for the butcher, he places them both on a small red mat on the counter. In the next shot they're off of the red mat, and are on the actual counter. (00:05:00)
Revealing mistake: When the postman goes upstairs to see Julie with the package, he steps on the broken step and falls down the stairs. As he rolls down, the bulky outline of kneepads under his trousers is visible. (00:17:30)
Continuity mistake: When the man at the table blows up a balloon he dips it in a bowl. Between shots the black mark on the balloon changes location, and also, another black mark appears between the shots. (00:21:00)
Continuity mistake: When Aurore is throwing items out of the window, after her failed attempt at suicide, the items on the table change between shots. The playing cards set out change, for instance. (00:57:00)
Continuity mistake: After the boys snag the underwear from Mademoiselle Plusse's line, the position of the pegs on the other garments changes a few times from hanging down / standing upright. (00:40:10)
Visible crew/equipment: When the butcher is talking to Louison outside the delicatessen, after he has just arrived in the taxi, the whole boom mike is reflected in the window above them, to their left. (00:08:05)
Visible crew/equipment: Green autocue screens and white reflector screens are often reflected in Julie's glasses, especially noticeable when she speaks to her father about letting Louison go. (00:44:30)
