IMDb > One More Minute (1979)

One More Minute (1979) More at IMDbPro »Snapshot (original title)


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Chris de Roche (written by)
Everett De Roche (written by)
View company contact information for One More Minute on IMDbPro.
Release Date:
October 1980 (USA) See more »
Don't open the door ... Don't answer the phone ... Don't look in the attic ... It's there and it wants you! See more »
Angela is a young hairdresser thrown out of home by her puritantical mother after too many nights out... See more » | Add synopsis »
Plot Keywords:
1 nomination See more »
User Reviews:
Slow but watchable, moderately interesting Australian oddball drama See more (13 total) »


  (in credits order) (verified as complete)
Chantal Contouri ... Madeline
Robert Bruning ... Elmer

Sigrid Thornton ... Angela

Hugh Keays-Byrne ... Linsey
Denise Drysdale ... Lily
Vincent Gil ... Daryl
Jon Sidney ... Mr. Pluckett
Jacqui Gordon ... Becky

Julia Blake ... Mrs. Bailey
Peter Stratford ... Roger
Christine Amor ... Paula
Lulu Pinkus ... Wendy
Stewart Faichney ... Peter
Chris Milne ... Book Marker
Bob Brown ... Captain Rock
Peter Felmingham ... Boris
rest of cast listed alphabetically:
Steven Clark ... Barman (uncredited)
Everett De Roche ... Construction Worker (uncredited)

Directed by
Simon Wincer 
Writing credits
(in alphabetical order)
Chris de Roche  written by
Everett De Roche  written by

Produced by
William Fayman .... executive producer
Antony I. Ginnane .... producer
Barbi Taylor .... associate producer
Original Music by
Brian May 
Cinematography by
Vincent Monton 
Film Editing by
Philip Reid 
Production Design by
Jon Dowding 
Art Direction by
Jill Eden 
Costume Design by
Aphrodite Kondos  (as Aphrodite Jansen)
Makeup Department
José Luis Pérez .... makeup department head
Second Unit Director or Assistant Director
Tom Burstall .... first assistant director
John Hipwell .... second assistant director
Sound Department
Paul Clark .... sound recordist
Peter Fenton .... sound mixer
Dean Gawen .... sound editor
Terry Rodman .... sound editor
Special Effects by
Chris Murray .... special effects supervisor
Visual Effects by
Roger Cowland .... visual effects
Grant Page .... fire stunts
Camera and Electrical Department
David Brostoff .... focus puller
Tony Holtham .... gaffer
Louis Irving .... camera operator
Ian Jones .... clapper loader
Noel Mudie .... key grip
Geoff Richardson .... second grip
Pieter van Santen .... focus puller (as Peter Van Santen)
Colin Williams .... best boy
Suzy Wood .... still photographer
Editorial Department
Arthur Cambridge .... color grader
Margaret Cardin .... negative cutter
Bill Gooley .... color consultant
Music Department
Brian May .... conductor
Roger Savage .... music engineer
Other crew
Jennifer Barty .... production assistant
Stuart Beatty .... runner
David Coggins .... caterer
Georgina Greenhill .... titles
Michael Roseby .... production accountant
Ray Strong .... titles
Jan Tyrrell .... continuity
Peter White .... stills assistant
Ian Williams .... publicist

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Snapshot" - Australia (original title)
"The Day After Halloween" - USA (DVD title)
"The Day Before Halloween" - USA
"The Night After Halloween" - USA (video title)
See more »
92 min | 101 min (DVD)
Color (Eastmancolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Argentina:X (original rating) | Argentina:16 (re-rating) | Australia:M | UK:18 | USA:R | West Germany:Not Rated

Did You Know?

First theatrical feature film of director Simon Wincer.See more »
Angela:I had a very strict upbringing.
Madeline:So did I. But I was banging like a bunny before I was out of my first training bra. Trouble is, it wasn't until I was your age that I discovered I was banging the wrong gong.
See more »
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4 out of 5 people found the following review useful.
Slow but watchable, moderately interesting Australian oddball drama, 18 January 2010
Author: t-birkhead from United Kingdom

Snapshot is a film that seems to generally get pretty short shrift from viewers and though I liked it I can't say as I'm surprised. The main thing holding it back is its marketing and advertising, especially in America. Renamed The Day After Halloween despite having nothing to do with Halloween and tagged as a horror film when it isn't, this one would probably be appreciated more were it better known for what it is, a slow burning, nicely shot and acted drama with some oddball touches, a splash of paranoia and a mildly shocking climax. The film concerns the young and restless Angela, convinced to quite her hairdressing job and become a model by her free wheeling friend Madeline. But the fashion industry isn't a terribly nice place to operate, her ex boyfriend is menacing her with an ice cream van and her inexperience and high strung nerves lead her to assorted fears and bad decisions. Its a coming of age tale essentially, populated by intriguing characters and fresh and committed acting, though a certain mysterious unease snakes through the film. Not tense or well developed enough to be a truly engaging psychological piece, it is at least fairly compelling, or at any rate I thought so. Sigrid Thornton is agreeably vexed and spiky as Angela, though outshined by a brassy belter of a turn from Chantal Contouri as her friend Madeline, Hugh Keays Byrne has a good offbeat turn as a kooky photographer and Julia Blake (also in the superior Patrick) has an impressively cruel and domineering if brief appearance as Angela's mother. I'm not usually a fan of melodrama, even melodrama with a slightly creepy psychological edge, but Snapshot pulls through. The undoubted main components in its mild success for me are a typically neat script from veteran Everett De Roche (and Chris De Roche), with plenty of lively characters, earthy humour and as much intrigue as can be wrung from the slim events, also the direction of Simon Wincer (who later made the superior Harlequin with De Roche) with neat visual flair and good eye for angles. A slightly overwrought score from Brian May (as in the respected composer) also helps, just as Angelas own insecurities and youth lead her to make more of the insignificant than she should, so the score and the occasionally tense direction go right along with her. If only Angela were more interesting and the film a little more meaty or inspired in its events it could have been pretty interesting, but as it is it is merely quite watchable, elevated above being close to a miss by a cool finale. Altogether then, I dug this odd little ditty for what it was, not terribly impressive but bearing some little charms. Most horror fans should steer far clear, but Australian cinema completists, fans of melodrama or merely fans of the slightly unusual may get a few kicks out of it like I did.

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