| Karra Elejalde | ... | Héctor | |
| Candela Fernández | ... | Clara | |
| Bárbara Goenaga | ... | La Chica en el Bosque | |
| Nacho Vigalondo | ... | El Joven | |
| Juan Inciarte | ... | Héctor Ocasional (as Ion Inciarte) | |
| rest of cast listed alphabetically: | |||
| Libby Brien | ... | Clara (voice) (uncredited) | |
| Nicole Dionne | ... | La Chica (voice) (uncredited) | |
| Philip Hersh | ... | Radio Announcer (voice: English version) (uncredited) | |
Directed by | |||
| Nacho Vigalondo | |||
Writing credits | ||
| Nacho Vigalondo | (written by) | |
Original Music by | |||
| Eugenio Mira | (as Chucky Namanera) | ||
| Chucky Namanera | |||
Cinematography by | |||
| Flavio Martínez Labiano | (director of photography) (as Flavio Labiano) | ||
Film Editing by | |||
| Jose Luis Romeu | |||
Art Direction by | |||
| José Luis Arrizabalaga | |||
| Biaffra | (as Arturo García 'Biaffra') | ||
Set Decoration by | |||
| Urko Aguirre | |||
| Jaime Gartzia | |||
Makeup Department | |||
| La Baraque | .... | hair stylist reinforcement | |
| Oscar del Monte | .... | special makeup effects supervisor | |
| Nacho Díaz | .... | special makeup effects supervisor | |
| Gorane | .... | hair stylist reinforcement | |
| Susana Ibarretxe | .... | hair stylist | |
| Susana Ibarretxe | .... | makeup artist | |
| Amaia Maguregui | .... | assistant makeup artist | |
| Cristina Malillos | .... | special makeup artist | |
Production Management | |||
| Eduardo Carneros | .... | production manager | |
| William Welsh | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| José Manuel Benayas | .... | first assistant director | |
| Manuel Fernández Pinedo | .... | second assistant director (as Manuel Pinedo) | |
| Isaura López-Dóriga | .... | third assistant director (as Isaura López Dóriga) | |
Art Department | |||
| Ángel García Palmeiro | .... | property master | |
| Daniel Izar de la Fuente | .... | props | |
Sound Department | |||
| Juan Cadenas | .... | boom operator | |
| Manuel Carrión | .... | foley artist | |
| Roberto Fernández | .... | sound designer | |
| Roberto Fernández | .... | sound editor | |
| Asier Gonzalez | .... | sound (as Asier González) | |
| Martín J. Guridi | .... | sound re-recording mixer | |
| Ricardo Viñas | .... | dolby sound consultant | |
Special Effects by | |||
| Cesar Alonso | .... | special effects crew | |
| Kevin Carter | .... | special effects contact lenses | |
| José M. Meneses | .... | special effects makeup | |
Visual Effects by | |||
| Iñaki Bilbao | .... | digital conform editor | |
| Blas Galera | .... | digital conform editor | |
| Toni Guillén | .... | visual effects | |
| Jesús Luque | .... | visual effects | |
| Marcos Onaindia | .... | visual effects supervisor | |
| Juan Retuerto | .... | graphic designer | |
| Telson S.L. | .... | digital post production & effects | |
Stunts | |||
| Marina de Mendialdúa | .... | stunts | |
| José Manuel Gasca | .... | stunts | |
Camera and Electrical Department | |||
| Jon Barco | .... | second assistant camera: second unit | |
| José Carlos | .... | assistant camera: second unit | |
| Miguel Ángel Cárdenas | .... | gaffer | |
| Jon D. Domínguez | .... | camera operator (as Jon Díez Domínguez) | |
| Jon Elizegui | .... | assistant camera | |
| Elías Fernández | .... | electrician | |
| Manuel Gago | .... | electrician | |
| Alberto García | .... | electrician | |
| Félix Guede | .... | electrician | |
| Uxue Jiménez | .... | first assistant camera: second unit | |
| Uxue Jiménez | .... | second assistant camera | |
| Lorea Méndez | .... | video assistant | |
| Cormac Regan | .... | still photographer | |
Costume and Wardrobe Department | |||
| Barbara Mingo Costales | .... | wardrobe assistant (as Bárbara Mingo) | |
| Charo Diego | .... | wardrobe | |
| Estíbaliz Markiegi | .... | wardrobe | |
| Sofía Medem | .... | wardrobe: shooting | |
Editorial Department | |||
| Isabel Cano | .... | post-production coordinator | |
| Iker Insausti | .... | making-of editor | |
| Ainara López | .... | assistant editor (as Ainara López Bermejo) | |
| Nuria López | .... | post-production coordinator | |
| María José Martín | .... | post-production director | |
| Ximo Michavila | .... | digital film colorist | |
| Verónica Pérez | .... | scanning and film recording | |
Other crew | |||
| Mónica Acebes | .... | payroll clerk | |
| Mónica Acebes | .... | production secretary | |
| Víctor Aguinaco | .... | trainee production assistant | |
| Aitor Basterretxea | .... | script supervisor | |
| Laura del Campo | .... | trainee production assistant | |
| David Fernández | .... | location manager | |
| David Fernández | .... | second production assistant | |
| Pablo Fernández | .... | trainee production assistant | |
| Marta Galante | .... | first production assistant | |
| Nahikari Ipiña | .... | production coordinator | |
| Rosa Landaburu | .... | production secretary (as Rosa Landaburu Pitarque) | |
| Raúl López | .... | trainee production assistant | |
| Valentina Morillo | .... | assistant co-producer | |
| Ricardo Núñez Román | .... | voice director (English version) (as Ricardo Núñez) | |
| Ricardo Fernando Oria | .... | third production assistant | |
| José Manuel Ortega Grijalba | .... | accountant | |
| José Manuel Ortega Grijalba | .... | fiscal representative | |
| Jose M. Ortega | .... | production accountant | |
| Miguel Ángel Poo | .... | location manager | |
| Bea Revilla | .... | first production assistant | |
| Javier Rivas | .... | second production assistant | |
| Javier Rivas | .... | third production assistant | |
| Lucía Venero | .... | trainee production assistant | |
| Víctor Vergara Luján | .... | web designer: "Los cronocrímenes - El juego" promo game | |
| William Welsh | .... | location manager | |
| María Maestre | .... | unit publicist (uncredited) | |
Thanks | |||
| Carlos Areces | .... | thanks | |
| Arévalo | .... | thanks | |
| Juanma Bajo Ulloa | .... | thanks | |
| Borja Cobeaga | .... | thanks | |
| Javier Echániz | .... | thanks | |
| M.A. Faura | .... | special thanks | |
| Asier Guerricaechevarría | .... | thanks | |
| Álex de la Iglesia | .... | thanks | |
| Javivi | .... | thanks | |
| Alejandro Pérez Blanco | .... | thanks | |
| Koldo Serra | .... | thanks | |
| Patxi Urkijo | .... | thanks (as Patxi Urquijo) | |
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| The Science of Sleep | The Abandoned | Straw Dogs | Source Code | Retroactive |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Sci-Fi section | IMDb Spain section |
The first minutes of this film are a bit on the dreadful side, but don't walk out or you'll miss one of the most entertaining time travel stories ever!!! This one will leave you scratching your head as how the writer pulled it off with a very intelligent, resourceful, and quite clever script. He is aided by a marvelous job of editing which along with a tight direction moves the story forward, backward, sideways, and in any way that might be needed.
Our hero manages to find himself trapped in a time continuum that keeps deteriorating as he tries to find a solution to the original mess that started it all. The challenge is not how he struggles to tie the loose ends and come out of the mess he has apparently created. Messing with the time continuum always has dire consequences, and this film is a perfect example, but one thing that has always proved frustrating is being in the audience and just watching things unravel. The challenge in this film is becoming an active participant, as you try to figure out how the game is played.
Making things more complicated is the scientist who decides to take a jump and test equipment that has not been properly tested. His actions, along with the main character's, put an unexpected twist in the equation, and fixing things might just be a bit more difficult that anyone ever imagined.
What makes the film so spectacular is that everything is the movie is not the result of high tech, computer generated imagery, or dazzling special effects, or an overblown budget. The fact that the film doesn't even have the best actors give it a sense of reality that helps us become more sympathetic or repelled by the various "crimes" committed by the protagonist in order to fix his other "crimes".
I particularly enjoyed the fact that the film has only three settings, a dark woodsy hill, an empty complex, and a home that is being remodeled. This keeps us grounded and aware that anything is possible and has a chance of happening. Never, through the entire film I even doubted the clunky machine could even work. Great science fiction!!!