IMDb > Restrepo (2010)
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Restrepo (2010) More at IMDbPro »

Videos (see all 3)
Restrepo -- RESTREPO is a feature-length documentary that chronicles the deployment of a platoon of U.S. soldiers in Afghanistan's Korengal Valley. This is war, full stop. The conclusions are up to you.
Restrepo -- Trailer for Restrepo
Restrepo -- Trailer for this war documentary


User Rating:
7.6/10   16,360 votes »
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Down 6% in popularity this week. See why on IMDbPro.
View company contact information for Restrepo on IMDbPro.
Release Date:
6 August 2010 (USA) See more »
One platoon, one valley, one year
A year with one platoon in the deadliest valley in Afghanistan. Full summary » | Add synopsis »
Plot Keywords:
Nominated for Oscar. Another 12 wins & 16 nominations See more »
User Reviews:
a courageous film that shows a war that is, like the Korangal Valley, a loop of grit and despair See more (70 total) »


  (in credits order)
The Men of Battle Company 2nd of the 503rd Infantry Regiment 173rd Airborne Brigade Combat Team ... Themselves
Juan 'Doc Restrepo ... Himself
Dan Kearney ... Himself
LaMonta Caldwell ... Himself
Aron Hijar ... Himself
Misha Pemble-Belkin ... Himself
Miguel Cortez ... Himself
Sterling Jones ... Himself
Brendan O'Byrne ... Himself
Joshua McDonough ... Himself
Kyle Steiner ... Himself
Angel Toves ... Himself
Mark Patterson ... Himself
Stephen Gillespie ... Himself
Marc Solowski ... Himself
Kevin Rice ... Himself
Tanner Sichter ... Himself
William Ostlund ... Himself

Directed by
Tim Hetherington 
Sebastian Junger 
Produced by
John Battsek .... executive producer
Tim Hetherington .... producer
Sebastian Junger .... producer
Nick Quested .... executive producer
Cinematography by
Tim Hetherington 
Sebastian Junger 
Film Editing by
Michael Levine 
Production Management
Mike Harrop .... post-production supervisor
Gretchen McGowan .... head of production: Goldcrest Production Services
Sound Department
Coll Anderson .... sound re-recording mixer
Coll Anderson .... supervising sound editor
Stephen Barden .... dialogue editor
Grahame Davies .... sound mixer: additional
Paul Miller .... sound assistant: weapons specialist (as OFC Paul Miller)
Matt Snedecor .... sound effects editor
Michael Suarez .... sound
Camera and Electrical Department
Jake Clennell .... director of photography: Itaky
Brendan O'Byrne .... additional camera operator
Misha Pemble-Belkin .... additional camera operator
Rudy Varner .... additional camera operator
Teun Voeten .... additional camera operator
Derek Wiesehahn .... camera operator: Italy
Editorial Department
Alex Albers .... post-production intern
Timothy Baker .... post-production intern
Meghna Damani .... post-production intern
Anja Dornieden .... post-production intern
John Dowdell .... colorist
Kathryn Drury .... post-production intern
Alex Godin .... post-production intern
Peter Heady .... digital intermediate finishing artist
Jeremy Kaplan .... post-production intern
Jean Lane .... digital intermediate producer
Christy MacKarrell .... digital intermediate finishing artist
Corinne Manabat .... post-production intern
William Michals .... post-production intern
Maya Mumma .... associate editor
Meredith Patten .... post-production intern
Adele Pham .... post-production intern
Trina Rodriguez .... post-production intern
Jeanne Sison .... digital intermediate producer
Jeff Smithwick .... color timer
Tim Spitzer .... digital intermediate supervisor
Elizabeth Walter .... post-production intern
Chloe Walters-Wallace .... post-production intern
Carl Ayala .... assistant on-line editor (uncredited)
Music Department
Ruy García .... music supervisor
Other crew
Victor Barroso .... titles and credits: Worlds Away Productions
Marc Chamin .... legal service: Outpost Films, Loeb & Loeb
Sinead Duell .... business manager: Outpost Films
Richard Koenigsberg .... accountant: Outpost Films
Ben Lay .... head technician
Márcia Nunes .... production coordinator: Goldcrest Production Services
Karen Shatzkin .... additional legal services: Outpost Filmms
Brian Beckno .... special thanks (as Major Brian Beckno)
Graydon Carter .... special thanks
Tony Gerber .... thanks
Donna Gutkin .... thanks
Miles Levine .... thanks
Simon Levine .... thanks
Andrew Mumma .... thanks
Karen Schmeer .... thanks
Jonathan Stack .... thanks
Nicole Stott .... thanks
Doug Stumpf .... thanks
Jamie Wellford .... thanks

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Rated R for language throughout including some descriptions of violence
93 min
Aspect Ratio:
1.78 : 1 See more »
Sound Mix:
Australia:MA | Canada:14A (Ontario) | Germany:12 | Singapore:M18 (cut) | UK:15 | USA:R (certificate #46090)
Filming Locations:

Did You Know?

The movie's title comes from Private First Class Juan "Doc" Restrepo, whose memory is also honored in the company's isolated base camp, OP Restrepo.See more »
Izlel E Delyu HaidutinSee more »


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31 out of 51 people found the following review useful.
a courageous film that shows a war that is, like the Korangal Valley, a loop of grit and despair, 17 July 2010
Author: MisterWhiplash from United States

It's inarguable that we need to support up the soldiers in Afghanistan. It's the cliché in political speeches, but this film shows that this is more than just a saying when given a human face and context. Restrepo doesn't try and bluntly make the case that the conflict there that the US is engaged in is really worth it, or that we should leave immediately. The filmmakers let the soldiers speak for themselves, and the situation tells much more about what's really going on there. The ground troop that makes Restrepo- named after a much beloved fallen man that died suddenly during a small attack- which is a fort on a hill overlooking the valley, are all mostly kids who are in the army for one reason or another (one of them, who gives the most background, came from a hippie-family), and they are where they are and got to buck up with the situation for the months into the year it goes on till they are relieved.

We see some of the action, but if you're looking for the traditional war film please look elsewhere. This doesn't share the intensity of, say, last year's The Hurt Locker, but the film isn't on the same wavelength stylistically. Junger and Hetherington want these faces of the soldiers, and their experiences, to tell more than the visceral shocks that are shown on screen. Point in fact, there isn't a whole lot of action on screen, either because, logically, it would be difficult for the already in-grave-danger cameraman to get it on film (most of all that Rocky Mountain Ridge episode that everyone's haunted by), or that the US Army wouldn't allow it to be shown in the film. It's here, in having the lack of what we expect to see in a war film, that it gathers its strength and resonance.

The film Restrepo is engaging and absorbing as a collection of moments and scenes, detailing what everyday life was like there, and sometimes it could be just plain dull, or on the 'downlow' as it were. We see the dealings the army tries to make with the locals, who are either too scared of the Taliban (one gets the sense they're like a mafia with bigger guns) or don't want to help since, frankly, the US ends up killing a few civilians here and there, many of whom have never seen US troops before. Or, on the flipside, those that do want to deal with the soldiers after a cow is caught in the outlying fence on the perimeter and is killed, which is valuable property to the natives. And we also get to see how these guys, mostly kids in their early 20's or younger, having some relaxing time when not being fired at or firing back.

To be sure, some sequences are intense, such as the Rocky Mountain Ridge tale which has the soldiers being interviewed still unable to handle with the casualties and how they were surrounded by the Afghan forces. But what one walks away from this film, shot in the Korangal with straightforward, sobering shots of soldiers doing what they do, and with telling interviews shot much later when they were in Italy, is how they weathered the chaos and did accomplish something there with the fort (albeit later abandoned altogether in April 2010). It's extraordinary to see it so up close, and to put the human face on it. The audience, however they feel about the conflict currently (from the looks of things Obama's keeping soldiers there for longer stretches until "it" is "won"), get a fresh perspective and can walk away with their own conclusions. That, and those haunted faces of the soldiers themselves, who in profile have that stare in their eyes, sometimes more-so than others depending on when talking about what, and knowing that look may be there for the rest of their lives.

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