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| Sandra Hüller | ... | Michaela Klingler | |
| Burghart Klaußner | ... | Karl Klingler | |
| Imogen Kogge | ... | Marianne Klingler | |
| Anna Blomeier | ... | Hanna Imhof | |
| Nicholas Reinke | ... | Stefan Weiser | |
| Jens Harzer | ... | Martin Borchert (Exorzist) | |
| Walter Schmidinger | ... | Gerhard Landauer (Exorzist) | |
| Friederike Adolph | ... | Helga Klingler | |
| Irene Kugler | ... | Heimleiterin Krämer | |
| Johann Adam Oest | ... | Professor Schneider | |
| Eva Löbau | ... | Krankenschwester | |
| rest of cast listed alphabetically: | |||
| Stefan Müller-Doriat | ... | Minestrant | |
Directed by | |||
| Hans-Christian Schmid | |||
Writing credits(in alphabetical order) | ||
| Bernd Lange | writer | |
Produced by | |||
| Wolf-Dietrich Brücker | .... | co-producer: WDR | |
| Sabine Holtgreve | .... | co-producer: SWR | |
| Anja Klement | .... | line producer | |
| Ulrike Putz | .... | executive producer (as Uli Putz) | |
| Bettina Reitz | .... | co-producer: BR | |
| Hans-Christian Schmid | .... | producer | |
| Georg Steinert | .... | co-producer: Arte | |
Cinematography by | |||
| Bogumil Godfrejow | |||
Film Editing by | |||
| Bernd Schlegel | |||
| Hansjörg Weißbrich | |||
Casting by | |||
| Simone Bär | |||
Production Design by | |||
| Christian M. Goldbeck | |||
Art Direction by | |||
| Eva Stiebler | |||
Costume Design by | |||
| Bettina Marx | |||
Makeup Department | |||
| Monika Münnich | .... | makeup artist | |
| Nadine Schränkler | .... | makeup artist | |
Production Management | |||
| Nina Klingen | .... | unit production manager | |
| Britta Knöller | .... | post-production supervisor | |
| Manuel Kreuzpaintner | .... | set manager | |
| Katja Siegel | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Christopher Doll | .... | first assistant director | |
| Friederike Jehn | .... | second assistant director | |
Art Department | |||
| David Hoffmann | .... | property master | |
| Johannes Pfaller | .... | assistant property master | |
| Monica Suarez | .... | graphic designer | |
Sound Department | |||
| Lars Ginzel | .... | sound editor | |
| Dirk Jacob | .... | sound designer | |
| Marc Parisotto | .... | sound | |
| Martin Steyer | .... | sound re-recording mixer | |
Visual Effects by | |||
| Lutz Lemke | .... | title sequence designer/animator | |
| Katja Müller | .... | visual effects producer: ARRI | |
Camera and Electrical Department | |||
| Robert Wedemeyer | .... | key grip | |
Casting Department | |||
| Kirstin Plotz | .... | casting assistant | |
Editorial Department | |||
| Philippe Reinaudo | .... | digital intermediate technical director | |
Transportation Department | |||
| Silke Werner | .... | production driver | |
Thanks | |||
| Jakob Claussen | .... | thanks | |
| Thomas Wöbke | .... | thanks | |
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| Sophie Scholl - Die letzten Tage | Die Blechtrommel | Europa Europa | Heavenly Creatures | L'albero degli zoccoli |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Germany section |
| Add this title to MyMovies |
Phew this is hard to put into words.
At first I thought the cinematography was stunning, beautifully shot and the period was captured perfectly - I felt like I was watching a film shot in 1972 and it brought back early memories of the 70s.
The script was wonderfully subtle, there was absolutely no judgements about the characters. It would have been very easy to show the mother as a cruel an twisted woman but instead you could empathise with her, she thought she was doing the best for her daughter and that made the whole thing more tragic but also more real and beautiful.
To me the central message of the film was that life, however short is something to celebrate. The girl makes references to St Katarina who only lived a short time but did many wonderful things. She may not have escaped her strict and cruel mother for long but at least she did it and had a wonderful time for a while.
I kept having to tell myself they were actors. The depiction of the girl's first kiss at college was unlike any other I've seen. They captured the clumsiness and true feeling of the situation perfectly.
And finally the soundtrack - you'd think that deep purple wrote 'Anthem' for this film. Earlier we see her dancing ecstatically to the track when she's finally free at college and then we later see the relevance when it's used to play out at the end of the film.
I'm not sure I'll ever see a better film that this and I recommend it to anyone who occasionally likes to be moved by a movie.