IMDb > Code 46 (2003)
Code 46
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Code 46 (2003) More at IMDbPro »

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Overview

User Rating:
6.3/10   16,901 votes »
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Down 4% in popularity this week. See why on IMDbPro.
Writer:
Contact:
View company contact information for Code 46 on IMDbPro.
Release Date:
7 May 2004 (Italy) See more »
Genre:
Tagline:
In the future...love is a dangerous game. See more »
Plot:
A futuristic 'Brief Encounter', a love story in which the romance is doomed by genetic incompatibility. Full summary » | Full synopsis »
Plot Keywords:
Awards:
4 wins & 10 nominations See more »
NewsDesk:
(40 articles)
User Reviews:
The plot is almost secondary for such a great deal of the film and you can't really get a feel for what it is actually about. See more (147 total) »

Cast

  (in credits order) (complete, awaiting verification)

Tim Robbins ... William Geld

Togo Igawa ... Driver
Nabil Elouahabi ... Vendor

Samantha Morton ... Maria Gonzales
Sarah Backhouse ... Weather Girl
Jonathan Ibbotson ... Boxer

Natalie Mendoza ... Sphinx Receptionist

Om Puri ... Bahkland
Emil Marwa ... Mohan

Nina Fog ... Wole
Bruno Lastra ... Bikku

Christopher Simpson ... Paul
Lien Nguyin ... Singer in Nightclub
David Fahm ... Damian Alekan

Jeanne Balibar ... Sylvie
Mick Jones ... Himself
Taro Sherabayani ... Jim

Nina Sosanya ... Anya
Shelley King ... William's Boss
Tuyet Le ... Apartment Security

Benedict Wong ... Medic

Nina Wadia ... Hospital Receptionist

Essie Davis ... Doctor
Teo-Wa Vuong ... Tester

Jennifer Lim ... Tester with Couple

Archie Panjabi ... Check In
Paul Barnes ... Man in Corridor
Louis Lin ... Sales Agent

Nabil Massad ... Jebel Ali Hotel Owner
Kerry Shale ... Clinic Doctor
rest of cast listed alphabetically:

Kristin Scott Thomas ... Williams's wife (uncredited)
Bernadette Jane Vanderkar ... Young Maria (uncredited)

Directed by
Michael Winterbottom 
 
Writing credits
(in alphabetical order)
Frank Cottrell Boyce  writer

Produced by
Andrew Eaton .... producer
Arti Gupta .... line producer
Robert Jones .... executive producer
Rosa Romero .... line producer
David M. Thompson .... executive producer
 
Original Music by
Stephen Hilton  (as The Free Association)
David Holmes  (as The Free Association)
 
Cinematography by
Alwin H. Küchler (director of photography) (as Alwin Kuchler)
Marcel Zyskind (director of photography)
 
Film Editing by
Peter Christelis 
 
Casting by
Wendy Brazington 
 
Production Design by
Mark Tildesley 
 
Art Direction by
Mark Digby 
Denis Schnegg 
 
Set Decoration by
Michelle Day 
 
Costume Design by
Natalie Ward 
 
Makeup Department
Konnie Daniel .... hair designer
Konnie Daniel .... makeup designer
Lesley Smith .... hair designer
Lesley Smith .... makeup designer
 
Production Management
Charlotte Ashby .... production manager
Peter Bach .... post-production supervisor
Yvette Kirstein .... production manager: Dubai
Chiu Wah Lee .... unit production manager
 
Second Unit Director or Assistant Director
Caroline Chapman .... assistant director: UK
Sarah Coombs .... assistant director: UK
Michael Elliott .... first assistant director
Candy Marlowe .... crowd assistant director: UK
Chris Stoaling .... third assistant director: UK
Charlie Waller .... assistant director: UK
Anthony Wilcox .... second assistant director
 
Art Department
Sam Abelman .... carpenter
Bruce Barnes .... carpenter
David Bryan .... overseas art director
John Burgess .... painter
Gillian Campbell .... painter
Charlie Cobb .... graphic artist
Dan Crandon .... construction manager
Michelle Day .... set designer
Paul Drake .... assistant art director
Rod Gorwood .... draughtsman
Ben Green .... carpenter
Paul Halter .... carpenter
Prue Howard .... art department runner
Jason Htay .... carpenter
Mark Larkin .... assistant art director
Chris Lightburn-Jones .... stand-by art director
Charlie Malik .... dressing props
Gwen Murray .... art department trainee
Victoria Orlova .... property master: Dubai
Tim Powis .... carpenter
Jody Raynes .... painter
Nick Thomas .... props master
Mark Wallis .... carpenter
Joe Western .... painter
 
Sound Department
Tim Alban .... sound re-recording mixer
Orin Beaton .... sound maintenance
Peter Burgess .... foley artist
Peter Burgis .... foley artist
Colin Cooper .... adr mixer
Colette D. Dahanne .... adr mixer (as Colette Dahanne)
Richard Davey .... sound re-recording mixer
Andie Derrick .... foley artist (as Andi Derrick)
Mark DeSimone .... adr mixer
Anthony Faust .... foley editor
Peter Gleaves .... adr mixer
Mitch Low .... play back operator
Khama Matiti .... sound recordist
Christer Melén .... sound effects editor
Darko Mocilnikar .... sound assistant
Michael Redfern .... foley editor
James Seddon .... dolby consultant
Joakim Sundström .... supervising sound editor
Jessie Taylor .... assistant dubbing mixer
Stuart Wilson .... production sound mixer
Paul Wrightson .... adr editor
 
Special Effects by
Richard Conway .... special effects technician
Nigel Wilkinson .... special effects technician
 
Visual Effects by
Hani AlYousif .... digital effects artist
Jon Berridge .... digital compositor
Matthew Bristowe .... digital lab producer
Dan Duran .... digital artist (as Daniel Walton)
Richard Etchells .... digital intermediate editor
Pierre Fletcher .... digital effects coordinator
Max Horton .... colourist
Emma Ibbetson .... digital effects producer
Rebekah King-Britton .... 3D artist
Isabella Laner .... digital effects artist
Tony Lawrence .... digital effects supervisor
Begoña Lopez .... digital lab producer
Raoul Teague .... digital effects artist
Ben Turner .... digital artist
Thomas Urbye .... online film editor
 
Stunts
Ron Oakley .... stunt coordinator: Dubai
 
Camera and Electrical Department
Matthew Butler .... electrician
Lee Cleal .... electrician
Chris Connatty .... clapper loader
Johann Cruickshank .... electrician
Julia Curtin .... camera trainee
Pat Daly .... rigger
Roger Eaton .... assistant camera: additional unit
Roger Eaton .... director of photography: additional unit
Reuben Garrett .... gaffer
Annemarie Lean-Vercoe .... assistant camera: additional unit
Adrian Mackay .... electrician
Stephen Mathie .... best boy
Tony C. Miller .... rigging gaffer
Peter Mountain .... still photographer
Robert Shacklady .... focus puller: pick-up shots
Sebastian Sharples .... assistant camera: additional unit
Simon Tindall .... focus puller
Lucho Zuidema .... grip: UK
 
Costume and Wardrobe Department
Liza Bracey .... costume assistant: UK
Sian Coakley .... costume assistant: UK
Kate Towns .... costume assistant
Yingjuan Xiao .... costume assistant
Meng Xie .... costume assistant: China
Esme Young .... costume maker
 
Editorial Department
Ian Buchan .... assistant editor
John Coulter .... film scanner
Kennedy Dawson .... film scanner
Alec Gibson .... color grader
 
Music Department
Leo Abrahams .... musician: guitar
Chris Barrett .... assistant music engineer
Zach Danziger .... musician: drums
Scott Kinsey .... musician: keyboards
Tracy McKnight .... executive soundtrack producer
Hugo Nicolson .... music mixer (as Hugo Nicholson)
Hugo Nicolson .... music recordist (as Hugo Nicholson)
Tim Roe .... assistant music engineer
Pati Yang .... additional vocals
 
Other crew
Ruth Breslaw .... production coordinator
Nicole Carmen-Davis .... legal services
Scott Challgren .... legal assistant
Jonah Coombes .... location manager
Andrew Gwyn Davies .... production assistant
Jon Duncan .... production accountant
Jethro Harris .... operations manager: Pepper Ltd.
Gabby Le Rasle .... assistant production coordinator
Tom Leeburn .... production assistant
Helen Li .... production coordinator
Steffy Marrion .... production coordinator
Luke Morris .... production executive
Melissa Parmenter .... assistant: Michael Winterbottom and Andrew Eaton
Lewis Partovi .... set runner
Rob Seager .... assistant accountant
Rhys Summerhayes .... floor runner
Josh Yudkin .... location unit manager
Jim Lambert .... crew (uncredited)
 

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
MPAA:
Rated R for a scene of sexuality, including brief graphic nudity
Runtime:
93 min
Country:
Language:
Color:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
Mick Jones of The Clash sings the Clash song "Should I Stay Or Should I Go" in the karaoke-esque club scene, but he appears to get the words wrong. The song goes "If I go there will be trouble. If I STAY it will be double", but he sings "If I go there will be trouble. If I GO it will be double".See more »
Goofs:
Incorrectly regarded as goofs: The numerous seeming "errors in geography" are actually an intentional artistic choice. Because the film is set in a future where global cultures have become thoroughly merged, Michael Winterbottom purposely blended footage shot in Shanghai, Dubai and Rajastahn so that Shanghai has a desert outside it, etc.See more »
Quotes:
[first lines]
Maria:I think about the day we met. I suppose you arrived par avion. Maybe you were the first to get to security. You didn't intend to stay. You only had 24-hour cover, so luggage was a mano. And they probably had a driver waiting, so you didn't need to find un coche. You'd never been to Shanghai before. It was all new to you.
See more »
Movie Connections:
Featured in Obtaining Cover: Inside Code 46 (2004) (V)See more »
Soundtrack:
No Woman No CrySee more »

FAQ

This FAQ is empty. Add the first question.
92 out of 115 people found the following review useful.
The plot is almost secondary for such a great deal of the film and you can't really get a feel for what it is actually about., 14 March 2004
Author: aw-20 from Birmingham, UK

I had the pleasure and the privilege of attending a screening of this film recently. It had been unveiled in an incomplete state at the Venice film festival and in a more complete state at the Rotterdam festival last year. It has since been re-edited and was played for the first time to close the Birmingham Screen Festival ahead of its worldwide release later in the year (probably August/September).

It is the newest collaboration between British director and writer team, Michael Winterbottom and Frank Cottrell Boyce. It stars Tim Robbins and upcoming British actress Samantha Morton (Minority Report, In America, Morvern Callar).

It is set in a near future where a worldwide law (Code 46) makes the marriage of two people with genetic similarities illegal. The idea is that many cloned embryos are produced by IVF and so there are a number of genetically identical people in the world. So the potential is there for you to meet someone who is genetically related to you, so everyone must be screened before they marry. Any births resulting from Code 46 liaisons are terminated.

The plot is almost secondary for such a great deal of the film and you can't really get a feel for what it is actually about until very close to the end, and that is what made it so refreshing for me. It was more about the feel of the places, the emotions of the two characters (Robbins and Morton) and their developing relationship. You really don't know much about this futuristic society that people are now living in, or why it came to be like that. It reminded me of Hitchcock in that he would have a plot feature that was necessary for the whole story to take place, but it was almost secondary to the story itself (Hitch called it 'the macguffin'). An example of this is the stolen diamonds in North By Northwest.

In those respects it reminded me of Lost In Translation in that it was more about some subconcious feeling you got from the film, the characters and the whole atmosphere than about plot points. It makes it confusing and you wonder whether you'll get to the end without knowing anything, but when the end comes you've found yourself having actually picked up lots of information unwittingly. And more importantly, you really feel for and love the two characters. And I really loved the fact that while the film doesn't end on a low point, it isn't the happy ending you might expect (and indeed hope) of the two characters.

The obvious references are similar films like Blade Runner and Brave New World, but while it is a futuristic setting its not doused in sci-fi overtones. It looks fresh and stylish and is the result of shooting partly on film and partly on DV and utilising numerous digital effects. The very low budget of the film also meant that they couldn't build any large sets, so instead the film is made entirely on location (Shanghai, middle east and Westminster tube station in London).

We were treated to a Q&A with one of the actors and with the producer who gave a great deal of insight into the film, and I for one left the cinema feeling very lucky to have seen it.

When its in cinemas later in the year I recommend you go and see it. I know for a certainty that a lot of people won't like it because it lacks those obvious plot points from the outset, but instead it doesn't take you by the hand to its conclusion.

One of my new favourite films I'm sure.

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