Directed by | |||
| Bálint Kenyeres | |||
Writing credits(in alphabetical order) | ||
| Bálint Kenyeres | ||
| György Réder | ||
Produced by | |||
| Iván Angelusz | .... | associate producer | |
| György Durst | .... | co-producer | |
| Bálint Kenyeres | .... | producer | |
| András Muhi | .... | producer | |
Cinematography by | |||
| Mátyás Erdély | |||
Film Editing by | |||
| Péter Politzer | |||
Art Direction by | |||
| Márton Ágh | |||
Costume Design by | |||
| Andrea Flesch | |||
| Edit Szücs | |||
Production Management | |||
| László Lakatos | .... | unit manager | |
| Andrea Taschler | .... | production manager | |
Art Department | |||
| Peter Gantner | .... | property master (as Gantner Péter) | |
| Balázs Krasznahorkai | .... | artistic advisor | |
| Tamás Simon | .... | property master | |
Sound Department | |||
| Tamás Zányi | .... | sound | |
Special Effects by | |||
| Zsuzsanna Rebeka Pál | .... | main titles (as Pál Rebeka) | |
| Bálint Zsolt Szemenyei | .... | main titles (as Szemenyei Bálint) | |
Visual Effects by | |||
| Máté Birkás | .... | visual effects supervisor | |
Stunts | |||
| Péter Felcsuti | .... | stunts | |
| Attila Fásy | .... | stunts | |
| Béla Gerner | .... | stunts | |
| Zoltán Gulyás Kiss | .... | stunt coordinator (as Gulyás-Kis Zoltán) | |
| Gergely Korpácsi | .... | stunts | |
| Norbert Kovács | .... | stunts | |
| László Kósa | .... | stunts | |
| Zoltan Papp | .... | stunts | |
| Ákos Sinkó | .... | stunts | |
| Gyorgy Szanto | .... | stunts | |
Camera and Electrical Department | |||
| Attila Bakos | .... | grip | |
| Miklós Herczeg | .... | key grip | |
| Árpád Horváth | .... | focus puller | |
| Zsuzsanna Rebeka Pál | .... | still photographer (as Pál Zsuzsanna) | |
| Bálint Seress | .... | assistant camera | |
| Árpád Szirmai | .... | gaffer | |
| Ferenc Utasi | .... | grip | |
Casting Department | |||
| László Kiss | .... | extras casting supervisor | |
| Panni Molnár | .... | extras casting supervisor | |
Costume and Wardrobe Department | |||
| Ildikó Bíró | .... | wardrobe | |
Editorial Department | |||
| György Balatoni | .... | digital color timer | |
| Gyöngyi Féjja | .... | negative cutter | |
| Viola Regéczy | .... | color timer | |
Transportation Department | |||
| Miklós Adorján | .... | bus driver | |
| Péter Lukács | .... | driver: camera ttuck | |
Other crew | |||
| Fatime Dévényi | .... | caterer | |
| Gergõ Gazsy | .... | inferno (as Gazsy Gergely) | |
| Anita Gerencsér | .... | assistant producer | |
| Péter Huszák | .... | wrangler | |
| Lajos Imreh | .... | helicopter pilot | |
| Iván Steiner | .... | location security | |
| Iván Steiner | .... | military coordinator | |
| Richard Szabó | .... | logistic coordinator | |
| István Varga | .... | military advisor (as Dr. Varga István) | |
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| Defiance | The Terminal | Spider-Man 3 | Frozen River | I Am David |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb Hungary section |
I was looking for a plan sequence for inspiration in trying to make one myself and accidentally stumbled onto this one. (thanks to the nice sundance film festival website) It's a fine example of usage of a sequence shot. It moves from situational shot to the conclusion and there never really is a need to cut. The story is very powerful in it's summable simplicity and lends itself beautifully to this kind of camera-work. I would recommend it to everyone who likes this kind of inventive movie-making. As a student i think this is also an ideal movie to show to students why you should sometimes choose for a sequential shot instead of cutting your story to death.