| Catherine Hansard | ... | Herself | |
| Glen Hansard | ... | Himself | |
| Markéta Irglová | ... | Herself |
Directed by | |||
| Nick August-Perna | (co-director) | ||
| Chris Dapkins | (co-director) | ||
| Carlo Mirabella-Davis | (co-director) | ||
Produced by | |||
| Carlo Mirabella-Davis | .... | producer | |
Original Music by | |||
| Glen Hansard | |||
| Markéta Irglová | |||
Cinematography by | |||
| Chris Dapkins | |||
Film Editing by | |||
| Nick August-Perna | |||
Production Management | |||
| Marcelo Gandola | .... | post-production manager | |
Sound Department | |||
| Andrea Bella | .... | sound editor | |
| Michael Feuser | .... | sound editor | |
| Brett Hammond | .... | sound recordist | |
| Perry Levy | .... | sound editor | |
| Tom Paul | .... | sound re-recording mixer | |
| Steven Tollen | .... | sound executive producer | |
| Kevin Peters | .... | sound effects editor (uncredited) | |
Editorial Department | |||
| Tom Poole | .... | digital intermediate colorist | |
| Carlye Rubin | .... | assistant editor | |
| Molle DeBartolo | .... | digital intermediate producer (uncredited) | |
Music Department | |||
| Eileen O'Neill | .... | music supervisor | |
Other crew | |||
| André Des Rochers | .... | production counsel | |
| Tamara Rosenberg | .... | story consultant | |
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| Rush: Beyond the Lighted Stage | God Bless Ozzy Osbourne | Corman's World: Exploits of a Hollywood Rebel | Flight of the Conchords: On Air | Lemmy |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb USA section |
This is not just another concert tour movie (although fans will find plenty to satisfy), but a many layered film about sudden notoriety, artistic passion and how the protagonists (Glen and Marketa , already known to us from the film Once and their music) handle it all. The Swell Season takes a unique approach to the music doc category, turning it around so that it feels like fiction, unfolding a narrative that traces the arc of a relationship. Often it offers glimpses (as in scenes with glen's parents] at what makes these two, glen especially, tick. The concert footage mostly avoids the long view of the stage and pans of the audience; instead, it stays inside the band, up close and personal. Last, but definitely not least, it is beautifully shot in burnished black and white.