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Directed by | |||
| Sean Durkin | |||
Writing credits(in alphabetical order) | ||
| Sean Durkin | written by | |
Produced by | |||
| Antonio Campos | .... | producer | |
| Andrew Corkin | .... | co-producer (as Andrew D. Corkin) | |
| Patrick Cunningham | .... | producer | |
| Ted Hope | .... | executive producer | |
| Saemi Kim | .... | executive producer | |
| Saerom Kim | .... | executive producer | |
| Chris Maybach | .... | producer | |
| Josh Mond | .... | producer | |
| Matt Palmieri | .... | executive producer | |
| Brett Potter | .... | associate producer | |
| Melody C. Roscher | .... | line producer (as Melody Roscher) | |
| Alexander Schepsman | .... | executive producer | |
Original Music by | |||
| Danny Bensi | |||
| Saunder Jurriaans | |||
Cinematography by | |||
| Jody Lee Lipes | |||
Film Editing by | |||
| Zachary Stuart-Pontier | (as Zac Stuart-Pontier) | ||
Casting by | |||
| Randi Glass | |||
| Susan Shopmaker | |||
Production Design by | |||
| Chad Keith | |||
Art Direction by | |||
| Jonathan Guggenheim | |||
Costume Design by | |||
| David Tabbert | |||
Makeup Department | |||
| Jessica Kelleher | .... | key makeup artist | |
Production Management | |||
| Garrett P. Fennelly | .... | unit production manager (as Garrett Fennelly) | |
| Susan Lazarus | .... | post-production supervisor | |
Art Department | |||
| Shawn Annabel | .... | property master | |
| Yvette Granata | .... | set dresser | |
| Esther Kim | .... | assistant art director | |
Sound Department | |||
| Coll Anderson | .... | sound re-recording mixer | |
| Coll Anderson | .... | supervising sound editor | |
| Micah Bloomberg | .... | production sound mixer | |
| John Chiarolanzio | .... | assistant sound editor (as John Chirarolanzio) | |
| Steve F.B. Smith | .... | sound consultant: Dolby | |
| Matt Snedecor | .... | sound effects editor | |
| John Soukup | .... | sound transfer (uncredited) | |
Visual Effects by | |||
| David Tecson | .... | visual effects (uncredited) | |
Stunts | |||
| Chad Hessler | .... | stunt double: Hugh Dancy | |
| Abby Nelson | .... | stunt double: Elizabeth Olsen | |
| Kevin Rogers | .... | stunt double: Brady Corbet | |
| Anthony Vincent | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Josh M. Allen | .... | gaffer (as Josh Allen) | |
| Joe Anderson | .... | director of photography: second unit | |
| Joe Anderson | .... | first assistant camera | |
| Noah Chamis | .... | camera production assistant | |
| Destin Douglas | .... | second assistant camera | |
| Alexander Engel | .... | key grip | |
| Josh Fordham | .... | best boy grip | |
| David Gettens | .... | electric production assistant | |
| Sarah Guenther | .... | underwater camera operator | |
| Drew Innis | .... | still photographer | |
| David Kavanaugh | .... | best boy electric | |
| Burton May | .... | grip production assistant | |
| Jeff Peixoto | .... | second assistant camera | |
| Greta Zozula | .... | camera loader | |
| Gustavo Brum | .... | epk cinematographer (uncredited) | |
| Dave Han | .... | electrician (uncredited) | |
Animation Department | |||
| Tim Van Horn | .... | animator (uncredited) | |
Editorial Department | |||
| Amalia Bradstreet | .... | post-production assistant | |
| Don Ciana | .... | color timer | |
| Sam Daley | .... | colorist: dailies | |
| Sam Daley | .... | digital intermediate colorist | |
| Jessica Elvin | .... | digital intermediate editor | |
| Barbara Jean Kearney | .... | digital intermediate account executive | |
| Eric Leverenz | .... | digital imaging | |
| D.C. Marcial | .... | assistant editor (as Dean C. Marcial) | |
| Patrick McGuinn | .... | dailies project manager | |
| Phil McLennan | .... | laboratory production manager | |
| Bernadette Nieves | .... | film recording producer | |
| Patrick Rossi | .... | film recording | |
| Misako Shimizu | .... | assistant editor | |
| Alessandro Soares | .... | film recording | |
| Andrew Still | .... | digital intermediate data manager | |
| Kevin Vale | .... | digital intermediate producer | |
| Michael P. Whipple | .... | digital intermediate engineer | |
| Victoria Anderson | .... | colorist assistant (uncredited) | |
| Mark Reaser | .... | hd mastering (uncredited) | |
Other crew | |||
| Stephanie Clough | .... | chef assistant | |
| Will Corkin | .... | production assistant | |
| Amy Crowdis | .... | production coordinator | |
| Grant Curatola | .... | location manager | |
| Brendan Donohue | .... | production assistant | |
| Pete Donohue | .... | production assistant (as Peter Donohue) | |
| John William Donovan Corkin | .... | production assistant | |
| Scott Helgert | .... | stand-in | |
| Martin Jones | .... | legal services: Pryor Cashman | |
| Zorinah Juan | .... | script supervisor | |
| Katie Kramer | .... | key production assistant | |
| Julianne Maiello | .... | assistant chef | |
| Junior Mitil | .... | film runner (as Junior Mitel) | |
| Matthew Snetzko | .... | production assistant | |
| Lloyd Steele | .... | legal services: Pryor Cashman | |
| Josh Stern | .... | assistant: Ted Hope | |
| Peter Van Hyning | .... | chef assistant | |
| Lee Walker | .... | production assistant | |
| W. Wilder Knight II | .... | legal services: Pryor Cashman | |
| Amber Zeglen | .... | chef | |
| Ian M. Stratford | .... | financial counsel (uncredited) | |
| David Tecson | .... | title designer (uncredited) | |
Thanks | |||
| Joan Darling | .... | special thanks | |
| Raúl Esparza | .... | special thanks | |
| Rose Ganguzza | .... | special thanks | |
| Gyula Gazdag | .... | special thanks | |
| Lesli Linka Glatter | .... | special thanks | |
| Ed Harris | .... | special thanks | |
| Drew Kuhse | .... | thanks | |
| Doug McGrath | .... | special thanks | |
| James Rasin | .... | thanks | |
| Robert Redford | .... | special thanks | |
| Brad Silberling | .... | special thanks | |
| Joan Tewkesbury | .... | special thanks | |
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| The Dead Girl | Stir of Echoes | Eyes Wide Shut | Michael Clayton | Rachel Getting Married |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
Greetings again from the darkness. This one has been on my radar since the Sundance Festival and all the raves about Elizabeth Olsen's performance. After attending a screening last evening, I find myself at a loss to adequately describe not just her stunning turn, but also this unusual film from writer/director Sean Durkin.
On the surface, this sounds like just another movie peeking inside a creepy cult that brainwashes, and psychologically and physically abuses women, and is led by a charismatic (and creepy) religious style figure-head. There are many similarities to the Manson-family story of which much has been published, but Mr. Durkin takes the film in a much different and very creative direction by concentrating on what happens to Martha (Olsen) after she escapes the cult.
In the Q&A, Durkin states he did much research and found the most fascinating story to be that of a cult escapee and what she went through during her first three weeks of freedom. Martha sneaks out early one morning and places a panic call to her older sister, whom she hasn't communicated with in two years. Settling in to the lake house with big sis and new brother-in-law, it becomes quite obvious that Martha doesn't know how to fit in society and has absolutely no interest in discussing her recent past.
The sister is played very well by Sarah Paulson, and her husband is Hugh Dancy (so very good in Adam). This seemingly normal yuppie couple is trying to do right by Martha, but the fits of paranoia, outbursts of anger, and societal goofs are just too much for them.
The genius of this film is in the story telling. The cinematic toggling between today and moments of time at the cult farm house leads the viewer right into the confused mind of Martha. We don't get much back story but it's obvious she was "ripe" for cult world when she was chosen. We see how Patrick, the quietly charismatic leader, sings her a song and steals her heart ... she wants so much to belong. We also see how she bonds with the other women at the farm house, and ends up in a situation that seems to snap her out just enough so she finds the strength to leave. The editing of scenes between these two worlds in outstanding and serve to keep the viewer glued to the screen.
Last year I raved about an independent film called Winter's Bone. I chose it as one of the year's best and it ended with some industry award recognition. I am not willing to say this film is quite at that level, but I will say that the younger sister of the Olsen twins, Elizabeth, delivers an incredible first feature film performance and Sean Durkin deserves an audience for his first feature film as writer/director. Another bond between the two indies is that John Hawkes plays the cult leader Patrick, and Hawkes was a standout in Winter's Bone.
There will undoubtedly be some debate about whether this is cutting edge independent filmmaking or just another snooty art-house mind-messer. All I can say is, I hope the film grabs enough audience for the debate to matter ... it deserves it.