| Lars Eidinger | ... | Georg Trakl | |
| Peri Baumeister | ... | Grete Trakl | |
| Rainer Bock | ... | Prof. Albert Brückner | |
| Petra Morzé | ... | Mutter Trakl | |
| Jules Werner | ... | Oskar Kokoschka | |
| Rafael Stachowiak | ... | Ludwig Schubeck | |
| Anne Metzler | ... | Alma Mahler (as Victoire Metzler) | |
| Katharina Straßer | ... | Fanny (as Katharina Strasser) | |
| Patrick Hastert | ... | Apotheker | |
| Susi Stach | ... | Agnes | |
| Christiane Rausch | ... | Frau Gassner | |
| Nickel Bösenberg | ... | Conferencier | |
| Germain Wagner | ... | Buchhändler | |
| Fabienne Elaine Hollwege | ... | Dunkelhaarige (as Fabienne Hollwege) | |
| Silvia Meisterle | ... | Franziska Lichtenau | |
| Rainer Friedrichsen | ... | Vater Trakl | |
| Nikolaus Barton | ... | Student Musikakademie | |
| Benjamin Cabuk | ... | Scherenschneider | |
| Otto Lechner | ... | Akkordeonist / Pianist | |
| Vera Borek | ... | Georgs Wirtin | |
| Luc Spada | ... | Männliches Model | |
| Peter Appiano | ... | Tischnachbar Café Central | |
| Eduard Wildner | ... | Kellner Café Central | |
| Carl Achleitner | ... | Ehemann schwangere Frau | |
| Haymon Maria Buttinger | ... | Kellner in Kneipe | |
| Gerhard Lehmann | ... | Gast in Kneipe | |
| rest of cast listed alphabetically: | |||
| Claude Breda | ... | (uncredited) | |
| Katja Wolf | ... | Kokoschka Gast (uncredited) | |
Directed by | |||
| Christoph Stark | |||
Writing credits(in alphabetical order) | ||
| Ursula Mauder | screenplay | |
Produced by | |||
| Hans-Wolfgang Jurgan | .... | commissioning editor | |
| Arno Ortmair | .... | producer | |
| Dieter Pochlatko | .... | co-producer | |
| Bettina Ricklefs | .... | commissioning editor | |
| Nicolas Steil | .... | producer | |
| Klaus Zimmermann | .... | producer | |
Original Music by | |||
| Jeannot Sanavia | |||
Cinematography by | |||
| Bogumil Godfrejow | (as Bogumil Godfrejów) | ||
Film Editing by | |||
| Thierry Faber | |||
Casting by | |||
| Fritz Fleischhacker | |||
Production Design by | |||
| Christine Caspari | |||
Set Decoration by | |||
| Sylvia Kasel | |||
Costume Design by | |||
| Birgit Hutter | |||
Makeup Department | |||
| Fabienne Adam | .... | makeup department head | |
| Monika Fischer-Vorrauer | .... | make-up and hair | |
| Isabella Gonzalez | .... | make-up and hair | |
| Julia Hrdina | .... | make-up and hair | |
| Christian A. Kahrer | .... | make-up and hair | |
| Monika Krestan | .... | make-up and hair | |
| Hannelore Mayer | .... | make-up and hair | |
| Andreas Meixner | .... | make-up and hair | |
| Shlomit Migay | .... | make-up and hair | |
| Anne Weinberger | .... | make-up and hair | |
Production Management | |||
| Jesus Gonzalez-Elvira | .... | production manager | |
| Walter Pucker | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Laurent Prim | .... | second assistant director | |
| Daniel Texter | .... | first assistant director | |
Art Department | |||
| Jean Roch Bechameil | .... | painter | |
| Valérie Dodeigne | .... | head painter | |
| Judith Fischer | .... | assistant production designer | |
| Ayshea Halliwell | .... | art department assistant | |
| François Mast | .... | carpenter | |
| Paddy Patterson | .... | construction coordinator | |
| Florian Reichmann | .... | art director: Austria | |
Sound Department | |||
| Joo Fürst | .... | foley artist | |
| Lisa Geffcken-Reinhard | .... | adr editor | |
| Peter V. Meiselmann | .... | sound | |
| Annette Prey | .... | sound effects editor | |
| Christoph von Schönburg | .... | dialogue editor | |
| Eberhard Weckerle | .... | sound re-recording mixer | |
Special Effects by | |||
| Ken Fitzke | .... | special effects technician: Rain | |
| Sascha Heyar | .... | rain | |
Camera and Electrical Department | |||
| Anna Bogacz | .... | focus puller | |
| Renaud Charlier | .... | grip | |
| Tonino de Marco | .... | additional camera operator | |
| Tonino de Marco | .... | focus puller | |
| Amandine Klee | .... | second assistant camera | |
| Patrick Muller | .... | still photographer | |
Casting Department | |||
| Lucky Englander | .... | casting associate | |
Music Department | |||
| Thomas Osterhoff | .... | composer: additional music | |
Other crew | |||
| Solveig Harper | .... | production administrator | |
| Maxime Jacques | .... | production assistant | |
| Claude Ludovicy | .... | location consultant | |
| Stéphanie Mengel | .... | location assistant | |
| Hilde Odelga | .... | production coordinator | |
| Sebastian Rybing | .... | production assistant | |
| Alexandra Schumann | .... | production coordinator | |
| Christophe Vincent | .... | location manager | |
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| Lourdes | Kill Daddy Good Night | Lapislazuli - Im Auge des Bären | Klimt | Bibel Code |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Austria section |
*** This review may contain spoilers ***
Fictionalized account of Georg and Margarete Trakl, with some marked deviations from the historical record which, while serving the romantic tenor of the film, diminish any claims it has on authenticity.
The acting by Lars Eidinger and Peri Baumeister is fine, and the feel of the film is very romantic, dark, as passionate as Trakl's poetry, but the story yields surprisingly little drama, and the conflict that exists is all of one note: Georg cannot live without his affair with Margarete - he *must* have her! But he *cannot* have her - their incest is a sin. Margarete meanwhile seems unfailingly devoted to Georg. There was so little development in this dynamic that by the end of the film I ceased to care about either character.
The Trakls' story takes place at an interesting juncture in Austria's history. We could have been treated to Wittgenstein, shown Georg's experiences with the military, had Margarete's drug use explained by her compromising her music for marriage, but alas the film chooses a very narrow focus and we're given the "Bruckner" character instead of Langen. Bruckner? As in Anton Bruckner? Do the filmmakers mean their work as a sort of poetic re-imagining of historical fact analogous to Georg's poetry? We are told Georg kills himself, not that he OD'd on cocaine, and that Gretl shoots herself after a party, not that she went through a fortune and died drug-addicted and destitute. And what were they thinking in closing with King Crimson's "Court of the Crimson King"??? Dramatic, sure, but English prog rock to interpret Austro-Hungarian expressionists? Huh? I think in this case sticking closer to reality would have been more interesting than the results of such lavish application of artistic license.