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Directed by | |||
| Michael Haneke | |||
Writing credits | ||
| Michael Haneke | (screenplay) | |
| Michael Haneke | (story) | |
Produced by | |||
| Stefan Arndt | .... | producer | |
| Veit Heiduschka | .... | producer | |
| Michael Katz | .... | executive producer | |
| Michael Katz | .... | producer | |
| Stefano Massenzi | .... | associate producer | |
| Margaret Ménégoz | .... | producer | |
| Ulli Neumann | .... | line producer | |
| Andrea Occhipinti | .... | producer | |
Cinematography by | |||
| Christian Berger | |||
Film Editing by | |||
| Monika Willi | |||
Casting by | |||
| Simone Bär | |||
| Carmen Loley | |||
| Markus Schleinzer | |||
Production Design by | |||
| Christoph Kanter | |||
Art Direction by | |||
| Anja Müller | (supervising art director) | ||
Set Decoration by | |||
| Heike Wolf | |||
Costume Design by | |||
| Moidele Bickel | |||
Makeup Department | |||
| Anette Keiser | .... | makeup artist | |
| Waldemar Pokromski | .... | key makeup artist | |
| Jana Schulze | .... | additional makeup artist | |
Production Management | |||
| Miki Emmrich | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Hanus Polak Jr. | .... | first assistant director | |
| Patrick Winkler | .... | crowd assistant director | |
Art Department | |||
| Enzo Enzel | .... | head painter | |
| Gonda Hinrichs | .... | construction coordinator | |
| Vera Rubenbauer | .... | assistant props | |
| Silvia Sachseneder | .... | stand-by props assistant | |
| Esther Schreiner | .... | set dresser | |
| Ilse Töpfer | .... | property master | |
Sound Department | |||
| Arnaud Azoulay | .... | sound layback | |
| Fabienne Chalendard | .... | assistant sound editor | |
| Vincent Guillon | .... | supervising sound editor | |
| Jean-Pierre Laforce | .... | sound re-recording mixer | |
| Michel Monier | .... | sound consultant: Dolby | |
| Guillaume Sciama | .... | sound mixer | |
Special Effects by | |||
| Rolf Hanke | .... | special effects project manager | |
| Till Hertrich | .... | special effects technician | |
| Gerd Nefzer | .... | special effects supervisor (as Gerd Feuchter) | |
| Bernd Rautenberg | .... | special effects senior technician | |
| Marcus Schmidt | .... | special effects senior technician | |
| Jens Schmiedel | .... | special effects senior technician | |
| Thomas Thiele | .... | special effects senior technician | |
Visual Effects by | |||
| Geoffrey Kleindorfer | .... | visual effects | |
| Mario Wessely | .... | visual effects | |
Camera and Electrical Department | |||
| Emmanuel Aubry | .... | key grip | |
| Tilman Büttner | .... | steadicam operator | |
| Gerald Helf | .... | first assistant camera | |
| David Jerrett | .... | best boy | |
| Kimber Lee Jerrett | .... | gaffer | |
| Stefan Kaindl | .... | assistant camera | |
| Mario Minichmayr | .... | electrician | |
| Jörg Oschmann | .... | electrician | |
| Lars Richter | .... | assistant camera | |
| Thomas Schneider | .... | second assistant camera | |
| Christian Wehrle | .... | key video assist | |
| Bernadette Weigel | .... | oil lamp operator | |
| Sascha Werdehausen | .... | additional first assistant camera | |
| Jörg Widmer | .... | Steadicam operator | |
Casting Department | |||
| Florentin Camerer | .... | casting assistant: children | |
| Jessika Eisenkolb | .... | casting assistant: children | |
Costume and Wardrobe Department | |||
| Annette Bätz | .... | wardrobe | |
| Gabriele Keuneke | .... | tailor | |
Editorial Department | |||
| Reinhard Feichtinger | .... | digital cinema mastering | |
| Philippe Tourret | .... | digital intermediate coordinator | |
| Thomas Treu | .... | supervising editor | |
| Willi Willinger | .... | colorist | |
Transportation Department | |||
| Marcel Ahrens | .... | driver: cast | |
| Florian Haeger | .... | transportation captain | |
| Andreas Korpel | .... | production driver | |
Other crew | |||
| Gero Brugmann | .... | legal counsel | |
| Jennifer Bushnell | .... | legal assistant | |
| Jean-Claude Carrière | .... | script consultant | |
| Eddie Chebbi | .... | assistant production accountant | |
| Gisela Emberger | .... | set manager | |
| Manuela Groh | .... | production coordinator | |
| Nick Hertwig | .... | location scout | |
| Cathleen Hoffmann | .... | location manager | |
| Thomas Lauterkorn | .... | location scout | |
| Skady Lis | .... | business & legal affairs | |
| Ulrike Lässer | .... | production coordinator | |
| Felix Manthey | .... | location manager | |
| Annika Nierentz | .... | production assistant | |
| Kathrin Resetarits | .... | creative assistant: director | |
| Thomas Schneider | .... | assistant line producer | |
| Johannes Schröder | .... | location manager | |
| Andro Steinborn | .... | business affairs/legal | |
| Kristina Stelter | .... | assistant line producer | |
| Alice Stengl | .... | script supervisor | |
| Dorothea Trebs | .... | child supervisor | |
Thanks | |||
| Derek Shane Garcia | .... | special thanks (as Derek Garcia) | |
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| 1900 | Madame Bovary | Coup de grâce | The Best of Youth | The Girl with the Dragon Tattoo |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Germany section |
During the course of the year before WWI, a series of tragic and suspicious looking incidents take place in a small farming village somewhere in black and white Germany. The culprit or the culprits behind the crime wave will not be too easy to find.
The doctor, the priest, the baron and the teacher who also narrates the film form the elite of the village. We get to know each one of them and a few other villagers along with children of this village, calm on the surface but deeply tormented by an undercurrent of brutality, envy, malice and apathy.
The children's natural path to maturity is blocked by strict religious morality, cruelly enforced by the priest, thereby inhibiting their personal observation of the world around them. The priest feeds children with guilt and sexual repression instead of love and punishes even their most innocent mistakes. Certainly this environment will make it easy for them to not only accept but seek ruthless authority later in life.
As might be expected, love in this town is restrained and uneasy, while incest and affairs are overlooked by villagers. The Baron employs half of the village in his farm, yet almost no one seems to be against feudalism, nor rise up against the accidents that happen in the workplace. Social justice is a stranger to town, yet villagers are entrenched in apathy.
If adults do not face up the truth, however this truth might be against their convictions, rise up and take charge, then who will? And according to whose morality? Isn't fascism with racism, in short Nazism, misdirected popular anger and an easy response to deep injustices within a society ? Haneke observes mostly psychological, educational and religious roots of Nazism while leaving economic aspects mostly in the background.
Visuals of the film are very solid. The symmetry in the shots and the tidiness of the houses, even of those belonging to the poor farmers hint at the discipline and rigor Germans are well known for. Acting is top notch by the whole cast, especially children's faces beam just like in Bergman films. Directing was superb.
Haneke uses a village and a narrator similar in essence to Lars Von Trier's Dogville, still these two movies are clearly different.
Das Weisse Band has also some similarities to Cache, but just one notch less satisfying than his masterpiece which had a slightly more intriguing and fulfilling story. This movie is made more accessible by Haneke with his choice of more obvious tips, where sometimes characters talk directly about the situation. But in a time and age when people are battling too many problems and drug themselves with TV and easy payoffs who could blame Haneke?
Given the current global economic conditions and the fanaticism running high across all three major religions, this is a must-see movie for anyone caring about the future of our global village to avoid a Le Temps du Loup type of ending!