| Cornelio Wall | ... | Johan | |
| Maria Pankratz | ... | Marianne | |
| Miriam Toews | ... | Esther | |
| Peter Wall | ... | Padre | |
| Jacobo Klassen | ... | Zacarias | |
| Elizabeth Fehr | ... | Madre | |
| rest of cast listed alphabetically: | |||
| Jacques Brel | ... | Himself (archive footage) | |
Directed by | |||
| Carlos Reygadas | |||
Writing credits(in alphabetical order) | ||
| Carlos Reygadas | ||
Produced by | |||
| Jeroen Beker | .... | co-producer | |
| Rémi Burah | .... | co-producer | |
| Jean Labadie | .... | associate producer | |
| Carlos Reygadas | .... | producer | |
| Jaime Romandia | .... | producer | |
| Frans van Gestel | .... | co-producer | |
Cinematography by | |||
| Alexis Zabe | |||
Film Editing by | |||
| Natalia López | |||
Art Direction by | |||
| Nohemi Gonzalez | |||
Production Management | |||
| Luisa Blanco | .... | assistant production manager | |
| Gerardo Tagle | .... | director of production | |
Second Unit Director or Assistant Director | |||
| Alex Ezpeleta | .... | first assistant director | |
Sound Department | |||
| Jaime Baksht | .... | sound mixer | |
| Michelle Couttolenc | .... | sound mixer | |
| Sergio Diaz | .... | supervising sound editor | |
| Martín Hernández | .... | supervising sound editor | |
| Raúl Locatelli | .... | sound | |
Visual Effects by | |||
| Juan Manuel Nogales | .... | visual effects supervisor | |
Camera and Electrical Department | |||
| Jonathan Leys | .... | grip assistant | |
| Nicolas Martin | .... | Steadicam operator | |
| Daniel Valdes | .... | assistant camera | |
Editorial Department | |||
| Paulino Fernández Ibáñez | .... | digital intermediate colorist (as Paulino Ibáñez) | |
Thanks | |||
| Alfonso Cuarón | .... | thanks | |
| Alejandro González Iñárritu | .... | thanks | |
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| Madame Bovary | Undertow | Priest | The Painted Veil | The Pillow Book |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Mexico section |
I am officially senior this year and I have seen a lot of movies, but I doubt if I will ever see a better one than this. I find it hard to analyse why it is so amazingly magic and captivating. I'll try not to bore you, as I have done to all my friends who haven't seen it. I think the ambient sound-designed soundtrack and the restrained, poignant and profound dialogue are the most revelatory aspects of the films construction. Indeed I can't think of another film comparable for emotional clout using such economic material. Although I share the filmmakers disappointment that his film is not embraced by a larger audience, I was lucky enough to see this movie in an all but empty cinema in London and joyfully, tearfully and emotionally sucked in every molecule off the screen and surrendered to its visceral magic. It could be twice as long, I don't care it was utterly beautiful. It felt totally authentic, real and relevant to me. There were admittedly, a lot of personal resonances for me in there. I had just been on a mature gap to a rural part of Australia visually similar to Mexico and most of the time I was driving around in my ute in torrential rain or baking sun. No telly, no adverts, no phones and no urban pressure....bloody delicious. Some of my ancestors were Mennonites so I am very sympathico to their lifestyle ethos. Anyone who has been in such a love-triangle will recognise the veracity of the plot. I was totally blown away back in my own time during it and revisited Stellar Licht for weeks and weeks after wards. I would love to watch again but I think it needs the big screen.