| Stipe Erceg | ... | Tom | |
| Hannah Herzsprung | ... | Marie | |
| Lisa Vicari | ... | Leonie | |
| Angela Winkler | ... | Bäurin | |
| Lars Eidinger | ... | Phillip | |
| Michael Kranz | ... | Micha (voice) | |
| Lilo Baur | ... | Französin | |
| Anne Sarah Hartung | ... | Sophia | |
| Nino Böhlau | ... | Flori | |
| Christoph Gaugler | ... | Brückner | |
| Ellen Schweiger | ... | Oma | |
| Tammo Winkler | ... | Toni | |
| Dieter Hilpmann | ... | Gefangener | |
| Luca Winkler | ... | Jens | |
| Yoann Blanc | ... | Sohn Micha | |
| Marco Calamandrei | ... | Franzose | |
| Hans-Peter Recktenwald | ... | Flüchtiger | |
| Lutz Pretzsch | ... | Anton |
Directed by | |||
| Tim Fehlbaum | |||
Writing credits | ||
| Tim Fehlbaum | (screenplay) & | |
| Oliver Kahl | (screenplay) & | |
| Thomas Wöbke | (screenplay) | |
Produced by | |||
| Roland Emmerich | .... | executive producer | |
| Stefan Gärtner | .... | co-producer | |
| Ruth Waldburger | .... | co-producer | |
| Gabriele Walther | .... | producer | |
| Thomas Wöbke | .... | producer | |
Original Music by | |||
| Lorenz Dangel | |||
Cinematography by | |||
| Markus Förderer | |||
Film Editing by | |||
| Andreas Menn | |||
Casting by | |||
| An Dorthe Braker | |||
Production Design by | |||
| Heike Lange | |||
Costume Design by | |||
| Leonie Leuenberger | |||
Makeup Department | |||
| Georg Korpas | .... | special makeup effects artist | |
Second Unit Director or Assistant Director | |||
| Ola Czarniecka | .... | second assistant director | |
| Lars Gmehling | .... | first assistant director | |
Art Department | |||
| Johanna Fanderl | .... | assistant production designer | |
| Kerstin Grund | .... | property master | |
| Staub Lisa | .... | art department trainee | |
| Doro Polstorff | .... | standby props | |
| Olivia Rieser | .... | set dresser | |
| Bettina Sailer | .... | set dresser | |
| Peter Schuler | .... | construction coordinator | |
| Ziehn Vanessa | .... | art department trainee | |
| Anna Wagner | .... | assistant property master | |
| Thomas Wimmer | .... | swing | |
Sound Department | |||
| Hubert Bartholomae | .... | sound re-recording mixer | |
| Pit Kuhlmann | .... | dialogue editor | |
| Philipp Sellier | .... | sound effects editor | |
| Christoph von Schönburg | .... | sound effects editor | |
Special Effects by | |||
| Ernst Lanninger | .... | special effects | |
| Jan Singh | .... | special effects | |
Visual Effects by | |||
| Silvio Alberti | .... | compositor | |
| Gabriel Dedic | .... | supervising digital colourist | |
| Renato Huber | .... | junior compositor | |
| Romeo Janczer | .... | junior compositor | |
| Miklos Kozary | .... | compositing supervisor | |
| Jan-Hilmar Petersen | .... | set vfx supervisor | |
| Stephan Schweizer | .... | lead compositor | |
Stunts | |||
| Petr Dvorak | .... | stunt player: Kannibale | |
| Mac Steinmeier | .... | stunt team | |
Camera and Electrical Department | |||
| Anton Förtsch | .... | lighting technician | |
| Pablo Gotzes | .... | data capture | |
| Pablo Gotzes | .... | second assistant camera | |
| Andreas König | .... | lighting technician | |
| Ken MacDonald | .... | first assistant camera | |
| Theo Oppenländer | .... | gaffer | |
| Oliver Schill | .... | first assistant camera | |
| Clemens Treml | .... | Steadicam operator | |
Casting Department | |||
| Saskia Garrebeek | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Catherine Schneider | .... | wardrobe | |
Music Department | |||
| Luc Bonnet | .... | score mixer | |
| Falko Duczmal | .... | protools engineer | |
| Tilo M. Heinrich | .... | music preparation | |
| Tilo M. Heinrich | .... | percussion: musician | |
| Michael Schubert | .... | score: recorded and mixed by | |
Other crew | |||
| Linn Kohlmetz | .... | production coordinator | |
| Berit Norrenberg | .... | legal advisor (as Berit Wetzel) | |
| Lena Prosteder | .... | production assistant | |
Thanks | |||
| Bernd Eichinger | .... | thanks | |
| Hans-Christian Schmid | .... | thanks | |
| Eva Von Malotky | .... | thanks | |
| Hansjörg Weißbrich | .... | thanks | |
|
|
|
|
|
| The Road | No Blade of Grass | Children of Men | Angry Harvest | A Boy and His Dog |
|
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb Germany section |
The marketing might make much of Roland Emmerich producing involvement, but while this low-budget German survivor story is set the day after tomorrow but it's about as far from The Day After Tomorrow as you can get. The sun is flaring and Earth's temperature has risen ten degrees. A group of survivors, led by tough Marie (Hannah Herzsprung), make their way toward the mountains, toward water.
As with John Hillcoat's The Road, this is a tale about the day-to-day fight for survival after a nameless cataclysm has befallen the planet. But while Hillcoat's film was perennially chilly, writer-director Tim Fehlbaum's is all about the lethal glare of the sun. The conceit of the characters having to avoid direct sunlight seems like an affectionate nod to Kathryn Bigelow's vampire classic Near Dark. It adds an intriguing extra dimension to many scenes.
The film begins as a fairly standard waste-crawler, but gradually turns into a Texas Chain Saw Massacre-style nightmare, as Marie and her sister find themselves the prisoners of a ghastly family, led by a monstrous matriarch, horribly rational and literal in her attempts to ensure her family's survival.
Fehlbaum draws impressive intensity from the actors and delivers a series of tense set-pieces. In the final act I feared events would lurch into torture porn territory, but on the contrary, it's at this point that the films characters properly emerge, and the humanity of the piece comes to light. What could have been a film about cannibalism is actually about sisterhood.
On a technical level, the film is well shot. But the editing is at times of the chaotic variety: needless rapid cutting. I guess this technique is meant to bring across the thrill and confusion of the moment, but for me the filmmaker is giving us a sense of the experience at the expense of us actually understanding what's going on. Not a trade worth making, in my opinion.
There's nothing much new in Hell, but as a refined, engrossing amalgamation of well-worn ideas, it hangs together nicely, all the way up to the disappointingly sudden ending.