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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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| Full cast and crew | Company credits | External reviews |
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Sean Durkin's first feature is quite the trip. Durkin's sensibility as a director shines with this film, and shows undeniable promise. The really crazy thing about this film is that it's quietness is only juxtaposed by the really messed up things that are happening in the plot. An intriguing analytical mess of reality, memory, and fantasy, Martha Marcy May Marlene is about a paranoia, an extreme desire to escape the past, though it always comes back to haunt you. It is the isolation and the trouble that comes with that, that Martha really suffers from-- the cult has a certain way of thinking and the film geniously explores the psychological persuasion into a way of thinking the way that the cult tries to make their ethics and morality universal is a terrifying, and intriguing thing. Elizabeth Olsen does a helluva job as Martha, giving her dewey eyed complexity, both bewilderment, shock, disgust, and intrigue. She gives quiet moments great momentum, and is an actress to keep an eye on. Jody Lee Lipes' cinematography is eerily distant and then uncomfortably close; the mixed bag reflects Martha's psyche in an interesting way. The scariest thing about Martha Marcy May Marlene is that it actually could happen. It may have even benefited from taking that dive a bit further, let us know just how paranoid and altered Martha is, and especially contrasting that with the old Martha, and the only complaint I might have is that we never get to see what the original Martha was like; it is only inferred as to why she would even accept and join this group in the first place, or what exactly she was running away from. But perhaps that makes the film only more intriguingrunning away brought her to this society, and of course it looks fine on the outside, with it's acceptable living conditions and always a "family' of sorts around you. But, ah, there's always more than meets the eye. B+