| Photos (See all 25 | slideshow) | Videos |
| Glenn Close | ... | Dr. Elaine Keener (segments "This is Dr. Keener" and "Fantasies about Rebecca") | |
| Cameron Diaz | ... | Carol Faber (segment "Love Waits For Kathy") | |
| Calista Flockhart | ... | Christine Taylor (segments "Goodnight Lilly, Goodnight Christine" and "This is Dr. Keener") | |
| Kathy Baker | ... | Rose (segments "Someone For Rose" and "Fantasies about Rebecca") | |
| Amy Brenneman | ... | Detective Kathy Faber (segment "Love Waits For Kathy") | |
| Valeria Golino | ... | Lilly (segment "Goodnight Lilly, Goodnight Christine") | |
| Holly Hunter | ... | Rebecca Waynon (segment "Fantasies About Rebecca") | |
| Matt Craven | ... | Walter (segments "Fantasies About Rebecca" and "Love Waits For Kathy") | |
| Gregory Hines | ... | Robert (segment "Fantasies About Rebecca") | |
| Miguel Sandoval | ... | Sam (segment "Love Waits For Kathy" | |
| Noah Fleiss | ... | Jay (segment "Someone For Rose") | |
| Danny Woodburn | ... | Albert (segments "Someone For Rose" and "Love Waits For Kathy") | |
| Penelope Allen | ... | Nancy (segment "Fantasies About Rebecca") (as Penny Allen) | |
| Roma Maffia | ... | Debbie (segments "Fantasies About Rebecca" and "Love Waits For Kathy") | |
| Mika Boorem | ... | June (segments "Love Waits For Kathy" and "Goodnight Lilly, Goodnight Christine") | |
| Irma St. Paule | ... | Elaine's Mother (segment "This is Dr. Keener") | |
| Juanita Jennings | ... | Nurse (segment "Fantasies About Rebecca") | |
| Laura Leigh Hughes | ... | Receptionist (segment "Fantasies About Rebecca") | |
| Erik King | ... | Police Officer (segment "Love Waits For Kathy") | |
| Elpidia Carrillo | ... | Carmen Alba | |
| rest of cast listed alphabetically: | |||
| Yolanda Arroyo | ... | Angelica | |
| Jacob Avnet | ... | Jay's School Friend (segment "Someone For Rose") (uncredited) | |
| Carmel Wynne Smith | ... | Bank Teller (uncredited) | |
Directed by | |||
| Rodrigo García | |||
Writing credits(in alphabetical order) | ||
| Rodrigo García | writer | |
Produced by | |||
| Jon Avnet | .... | producer | |
| Effie Brown | .... | line producer | |
| Lisa Lindstrom | .... | producer | |
| Marsha Oglesby | .... | producer | |
| Elie Samaha | .... | executive producer | |
| Andrew Stevens | .... | executive producer | |
Original Music by | |||
| Ed Shearmur | (as Edward Shearmur) | ||
Cinematography by | |||
| Emmanuel Lubezki | |||
Film Editing by | |||
| Amy E. Duddleston | |||
Casting by | |||
| Marnie Waxman | |||
Production Design by | |||
| Jerry Fleming | |||
Set Decoration by | |||
| Betty Berberian | |||
Costume Design by | |||
| George L. Little | |||
Makeup Department | |||
| David Abbott | .... | makeup artist | |
| Carrie Angland | .... | makeup department head | |
| Martial Corneville | .... | hair stylist: Ms. Close | |
| Medusah | .... | hair department head | |
| Jaren Millard | .... | makeup artist | |
| Anne Morgan | .... | hair stylist: Ms. Diaz (as Ann Morgan) | |
| Tamie Smith | .... | makeup artist | |
| Gucci Westman | .... | makeup artist: Ms. Diaz | |
Art Department | |||
| Denise Anderson | .... | assistant property master | |
| Mark Anderson | .... | property master | |
| William DeBiasio | .... | lead man | |
| Lance DeSpain | .... | lead scenic | |
| Paul Etheredge | .... | swing gang (as Paul Etheredge-Ouzts) | |
| Susana Inés Fattorini | .... | assistant art director | |
| Joel Miller | .... | set dresser | |
| Lisa Robinson | .... | on-set dresser | |
| Christopher Schultz | .... | on-set dresser (as Christopher A. Schultz) | |
| David Slater | .... | construction coordinator | |
| Patrick Tonioli | .... | scenic artist (as Patrick Starr Tonioli) | |
| Marisa Vargo | .... | scenic artist | |
| Brad Zuckerman | .... | construction foreman | |
Sound Department | |||
| Joe Barnett | .... | sound re-recording mixer | |
| Dylan Bond | .... | boom operator | |
| Jed M. Dodge | .... | adr supervisor | |
| Matt Dubin | .... | digital transfer engineer | |
| Alan Freedman | .... | adr mixer | |
| Jonathan Fuh | .... | boom operator | |
| Cormac Funge | .... | supervising sound editor | |
| José Antonio García | .... | production sound mixer | |
| Robert Getty | .... | assistant sound editor | |
| Michael Hertlein | .... | dialogue editor | |
| Chato Hill | .... | assistant sound editor | |
| C.W. Jones | .... | foley mixer | |
| Craig Jurkiewicz | .... | sound editor | |
| Ossama Khuluki | .... | foley artist | |
| Sarah Smith | .... | sound editor | |
| William Smith | .... | sound re-recording mixer (as Bill Smith) | |
| Walter Spencer | .... | dialogue editor | |
| Johanna Turner | .... | digital transfer engineer | |
| James Wright | .... | stereo sound consultant: Dolby | |
Visual Effects by | |||
| Christopher Dusendschon | .... | in-show optical process and effects compositor: THDX (uncredited) | |
| Christopher Dusendschon | .... | optical element Hazeltine colorist: THDX (uncredited) | |
Camera and Electrical Department | |||
| Ivan Allen | .... | rigging assistant lighting technician | |
| Pasquale Attanasio | .... | grip | |
| Mitchell Bergman | .... | set electric technician | |
| Bill Brummond | .... | Steadicam operator | |
| Colin J. Campbell | .... | chief lighting technician (as Colin Campbell) | |
| Russ I. Conklin | .... | rigging lighting technician | |
| C.E. Courtney | .... | assistant lighting technician | |
| Jeffrey Goodman | .... | camera loader | |
| Erik Hecomovich | .... | best boy | |
| Erik Hecomovich | .... | grip | |
| Robert Jason | .... | additional chief lighting technician | |
| Lee Jimenez | .... | dolly grip | |
| Dana Kroeger | .... | second assistant camera | |
| Jay Levy | .... | additional first assistant camera | |
| Mark Lipson | .... | still photographer | |
| Christopher M. Morlock | .... | electrician | |
| Greg Patterson | .... | grip | |
| Larry Sweet | .... | key grip | |
| Christopher Warren | .... | electrician | |
| Harry Zimmerman | .... | first assistant camera | |
Casting Department | |||
| Bill Dance | .... | extras casting | |
| Gary Davies | .... | extras casting assistant | |
| Alyssa Embree | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Leslie Fill | .... | costumer | |
| Dee Dee Hopkins | .... | costumer | |
| Jennifer K. Moore | .... | costume supervisor | |
| Carlane Passman | .... | assistant costume designer (as Carlane Passman Little) | |
Editorial Department | |||
| Phillip J. Bartell | .... | assistant editor | |
| George Koran | .... | telecine colorist | |
| Bob McMillian | .... | color timer (as Bob McMillan) | |
| Michael Nouryeh | .... | assistant editor | |
| Timothy E. Wilson | .... | assistant editor | |
Music Department | |||
| Francis Buckley | .... | music recordist | |
| Sandy DeCrescent | .... | orchestra contractor | |
| George Doering | .... | musician | |
| Daryl B. Kell | .... | supervising music editor | |
Transportation Department | |||
| Kip Johnson | .... | transportation captain | |
| Terry Mack | .... | transportation coordinator | |
| Sandra Ninham | .... | crew driver | |
|
|
|
|
|
| The Hours | Short Cuts | Kings & Queen | Fierce People | Paris, je t'aime |
|
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
The greatest virtue of this movie resides in the close look the camera focuses on stories and characters. Slowly but relentlessly, humorous and cruel at the same time, it allows the time needed for seven wonderful actresses to reveal their most intimate and contradictory feelings, without relying exclusively on the dialogue. Thus, the stories really turn to be things you can tell about these women by just looking (attentively) at them.
And isn't watching carefully what a movie is about?
The result of this very "objective" look is the healthy absence of a moral, a trap writers tend to fall into when dealing with lesbian love, mortal diseases, abortion, loneliness, egotism, discrimination, etc.
It's been labeled by some as a "feminist" film, another often mistaken category into which films with women protagonists fall into. I believe it's far from being such. It should appeal to both sensitive and sensible men and women.