Directed by | |||
| Lech Majewski | |||
Writing credits | ||
| Michael Francis Gibson | (screenplay) & | |
| Lech Majewski | (screenplay) | |
Produced by | |||
| Marek Baczyk | .... | associate producer | |
| Krzysztof Bors | .... | co-producer: Piramida Film | |
| Marek Bystrosz | .... | co-producer: Pyramida Film | |
| Malgorzata Domin | .... | line producer | |
| Piotr Ledwig | .... | line producer | |
| Adam Lukaszek | .... | associate producer | |
| Lech Majewski | .... | producer | |
| Zbigniew Malecki | .... | co-producer: Supra Film | |
| Freddy Olsson | .... | co-producer: Bokomotiv Filmproduktion AB | |
| Pawel Plonka | .... | co-producer: 24 Media | |
| Dorota Roszkowska | .... | co-producer: Arkana Studio | |
| Leszek Rybarczyk | .... | co-producer: Odeon Film Studio | |
| Angelus Silesius | .... | executive producer | |
| Tomasz Szulc | .... | co-producer: Odeon Film Studio | |
| George Lekovic | .... | consulting producer (uncredited) | |
Original Music by | |||
| Lech Majewski | |||
| Józef Skrzek | |||
Cinematography by | |||
| Lech Majewski | (director of photography) | ||
| Adam Sikora | (director of photography) | ||
Film Editing by | |||
| Eliot Ems | |||
| Norbert Rudzik | |||
Production Design by | |||
| Marcel Slawinski | |||
| Katarzyna Sobanska-Strzalkowska | (as Katarzyna Sobanska) | ||
Art Direction by | |||
| Stanislaw Porczyk | |||
Set Decoration by | |||
| Iwona Cieciwa | |||
| Pracownia Graffiti | |||
| Izabela Handrysik | |||
Costume Design by | |||
| Dorota Roqueplo | |||
Makeup Department | |||
| Dariusz Krysiak | .... | makeup designer | |
| Hanna Lesna | .... | makeup artist | |
| Monika Mirowska | .... | makeup designer | |
Production Management | |||
| Piotr Nowacki | .... | unit production manager | |
Art Department | |||
| Janusz Alberti | .... | swing gang: set dressing | |
| Rafal Gola | .... | carpenter | |
| Janina Gugala | .... | set dresser: swing gang | |
| Tadeusz Gugala | .... | set dresser: swing gang | |
| Bartlomiej Kita | .... | carpenter | |
| Wladyslaw Kita | .... | construction coordinator | |
| Jerzy Kostewicz | .... | lead person | |
| Joanna Macha | .... | additional production designer | |
| Lech Majewski | .... | landscape design | |
| Jerzy Mikolas | .... | set dresser: swing gang | |
| Jerzy Ozga | .... | storyboard artist | |
| Wojciech Ponczek | .... | property master | |
| Piotr Sinkowski | .... | set dresser: swing gang | |
| Krzysztof Swiderski | .... | property master | |
| Lech Traut | .... | property master | |
| Janusz Warchol | .... | prop maker | |
| Jerzy Ozga | .... | draftsman (uncredited) | |
Sound Department | |||
| Bartlomiej Bogacki | .... | boom operator | |
| Marian Bogacki | .... | sound recordist | |
| Aleksander Dowsilas | .... | adr recordist | |
| Piotr Knop | .... | sound mixer: Dolby Digital, Toya Studios | |
| Lech Majewski | .... | sound designer | |
| Romana Malecka | .... | foley artist | |
| Zbigniew Malecki | .... | sound designer | |
| Zbigniew Malecki | .... | sound mixer: Dolby Digital | |
| Zbigniew Malecki | .... | sound re-recording mixer | |
| Zbigniew Malecki | .... | supervising sound editor | |
| I.J. May | .... | foley artist | |
| Pavel Stverák | .... | dolby sound consultant | |
| Jan Walencik | .... | additional sound effects | |
Special Effects by | |||
| Norbert Rudzik | .... | special effects supervisor | |
Visual Effects by | |||
| Dawid Borkiewicz | .... | lead compositor: Odeon Film Studio | |
| Lukasz Glowacz | .... | flame artist: Odeon Film Studio | |
| Piotr Kierzkowski | .... | additional visual effects: Rosenbot | |
| Artur Kopp | .... | additional visual effects: Rosenbot | |
| Pawel Krawczyk | .... | 3d modeller: Odeon Film Studio | |
| Wojciech Lebkowski | .... | additional visual effects: Rosenbot | |
| Kamil Lenard | .... | image technician engineer: Odeon Film Studio | |
| Barbara Lepacka | .... | digital paint artist: AWR Edytor Katowice | |
| Waldemar Mordarski | .... | lead compositor: Odeon Film Studio | |
| Norbert Rudzik | .... | compositing artist: Kataraman | |
| Mariusz Skrzypczynski | .... | 3d animator: Odeon Film Studio | |
| Pawel Tybora | .... | visual effects supervisor | |
| Mikolaj Valencia | .... | additional visual effects supervisor: Odeon Film Studio | |
Stunts | |||
| Tomasz Gronowski | .... | stunts | |
| Mateusz Machnik | .... | stunts | |
| Andrzej Mrozinski | .... | stunts | |
| Wojciech Orlik | .... | stunt coordinator | |
Casting Department | |||
| Krzysztof Borówka | .... | extras casting | |
| Dorota Lis | .... | extras casting | |
| Rafal Samusik | .... | extras casting | |
| Beata Wisniewska | .... | extras casting: ABM Studio | |
Costume and Wardrobe Department | |||
| Sheila Barquilla | .... | costume provider | |
| Emilia Czartoryska | .... | assistant to costume designer | |
| Pola Gomólka | .... | key costumer | |
| Ewa Kochanska | .... | costume supervisor | |
| Jonathan Lipman | .... | costume provider | |
| Ewa Majewska | .... | seamstress | |
| Agnieszka Miluniec | .... | key costumer | |
| Wanda Skiba | .... | seamstress | |
| Jodie Spiers | .... | costume provider | |
| Beata Swiecicka | .... | key costumer | |
| Bozena Tomaszewska | .... | seamstress | |
| Theresa Ward | .... | costume provider | |
| Marzena Wojciechowska | .... | key costumer | |
Editorial Department | |||
| Ewa Chudzik | .... | color timer | |
| Jacek Cieslinski | .... | digital intermediate conform editor | |
| Jaroslaw Migala | .... | digital intermediate conform editor | |
| Malgorzata Roguska | .... | laboratory head of production | |
Music Department | |||
| Maciej Dowsilas | .... | music recordist: Polskie Radio Katowice | |
| Józef Skrzek | .... | musician | |
| Martin Walach | .... | musician | |
| Zbigniew Walach | .... | musician | |
Transportation Department | |||
| Dariusz Jojko | .... | transportation captain | |
| Maciej Klaja | .... | provider: campers | |
| Artur Olszewski | .... | transportation captain | |
| Andrzej Osek | .... | provider: limousines, AWOS SP Z.O.O. | |
| Bogdan Skworc | .... | chief driver | |
| Jerzy Tura | .... | chief driver | |
Other crew | |||
| Barbara Bialowas | .... | making of | |
| Helena Biba | .... | voice actor: Flemish, Wilamowice Crew | |
| Magdalena Blocian | .... | office production assistant | |
| Lucia Bozikova | .... | animal coordinator: crows | |
| Katarzyna Brewinska | .... | script supervisor | |
| Damian Bury | .... | stand-in: Mr. Hauer | |
| Dagmara Drzazga | .... | making of | |
| Anna Foks | .... | voice actor: Flemish, Wilamowice Crew | |
| Elzbieta Gandor | .... | voice actor: Flemish, Wilamowice Crew | |
| Józef Gara | .... | voice actor: Flemish, Wilamowice Crew | |
| Anna Gibula | .... | assistant: Mr. York | |
| Pola Gomólka | .... | assistant: Ms. Rampling | |
| Aneta Grabos | .... | animal coordinator: dogs | |
| Marian Kijanka | .... | stand-in: Mr. York | |
| Katarzyna Koniarz | .... | script supervisor | |
| Gabriel Król | .... | voice actor: Flemish, Wilamowice Crew | |
| Tymoteusz Król | .... | voice actor: Flemish, Wilamowice Crew | |
| Anna Kuczmierczyk | .... | voice actor: Flemish, Wilamowice Crew | |
| Stefania Kuczmierczyk | .... | voice actor: Flemish, Wilamowice Crew | |
| Justyna Majerska | .... | voice actor: Flemish, Wilamowice Crew | |
| Przemyslaw Marciniak | .... | production assistant | |
| Hiero Javier Mellado | .... | voice actor: Spanish Militia | |
| Pavel Michal | .... | animal coordinator: crows | |
| Franciszek Mosler | .... | voice actor: Flemish, Wilamowice Crew | |
| Elizbieta Mynarska | .... | voice actor: Flemish, Wilamowice Crew | |
| Marek Mysliwiec | .... | caterer: Resturacja Lania | |
| Nanoq Nakokrii | .... | language consultant | |
| Agnieszka Odorowicz | .... | co-financier: Polish Film Institute | |
| Urszula Palusinska | .... | title designer | |
| Samuel Rodriguez | .... | language consultant | |
| Samuel Rodriguez | .... | voice actor: Spanish Militia | |
| Stanislaw Rozner | .... | voice actor: Flemish, Wilamowice Crew | |
| Monika Sieradzka | .... | assistant: Mr. Hauer | |
| Przemyslaw Siwiec | .... | location manager | |
| Michal Skrzeczek | .... | location manager | |
| Natalia Stejskalová | .... | animal coordinator: crows | |
| Beata Swiecicka | .... | stand-in: Ms. Rampling | |
| Ewa Szoltysek | .... | accountant | |
| Ewa Szoltysek | .... | production controller | |
| Konstanty Szwender | .... | insurance: Opus Film | |
| Alesandro Tiago | .... | voice actor: Spanish Militia | |
| Anna Twrdowska | .... | stand-in: Ms. Rampling | |
Thanks | |||
| Sabine Haag | .... | special thanks (as Dr. Sabine Haag) | |
| Ilse Jung | .... | special thanks | |
| Florian Kugler | .... | special thanks | |
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| The Man from Earth | El Greco | Mad Love | Edvard Munch | Nightwatching |
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| Full cast and crew | Company credits | External reviews |
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The Mill and the Cross (2011)
The Polish film "The Mill and the Cross" was co-written and directed by Lech Majewski It stars Rutger Hauer as Pieter Bruegel, and co-stars Charlotte Rampling and Michael York.
The film consists of an attempt to bring to life Bruegel's 1564 painting, "The Procession to Calvary." I have seen this painting in the Kunsthistoriche Museum in Vienna. Once you've seen it, you don't forget it, because it is filled with people and action. (Although, in the painting, Jesus has just collapsed under the weight of the cross, so, in a sense, action has been frozen for a few seconds.)
The painting is also remarkable for a very strange symbol--a windmill placed high atop a stony crag. In the film, Bruegel explains that the miller looks down from his mill and sees everything that is happening below, just as God looks down from heaven and can see everything. So, the mill and the miller work symbolically. However, in a practical sense, the mill would never be that high on an large, steep, stony crag. If a mill were really in that location, no one could bring the wheat to the mill or take away the flour.
The other dominant vertical structure is a cartwheel, raised high on a long pole. This was the device used by the Spanish rulers of the Netherlands to execute and display prisoners. The prisoner was tied to the wheel, and the wheel was hoisted far up in the air. The device prevented anyone from helping the person--if alive--or removing the body. Only the carrion birds could reach the body, which they did, with predictable results.
Technology in the 21st Century makes everything possible, so it's no surprise that the painting is reproduced in the film in a real landscape. Sometimes all the figures are frozen, but other times you can see a cow moving or some other action taking place. The special effects are routine by now, but the manner in which they are used is not routine.
We really have the sense that we are looking at a landscape, and the artist is putting it down on canvas before our eyes. This is a highly creative way to look at life the way an artist sees it, and then look at the way life is transformed and committed to canvas.
We saw this film on the large screen at the excellent Rochester Polish Film Festival. It really will work better in a theater. However, if that's not an option, it's worth seeing on DVD.