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Children of Men (2006)

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In 2027, in a chaotic world in which women have become somehow infertile, a former activist agrees to help transport a miraculously pregnant woman to a sanctuary at sea.

Director:

Alfonso Cuarón

Writers:

Alfonso Cuarón (screenplay), Timothy J. Sexton (screenplay) | 4 more credits »
Popularity
637 ( 85)
Nominated for 3 Oscars. Another 48 wins & 76 nominations. See more awards »

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Cast

Cast overview, first billed only:
Clive Owen ... Theo Faron
Juan Gabriel Yacuzzi Juan Gabriel Yacuzzi ... Baby Diego (as Juan Yacuzzi)
Michael Caine ... Jasper
Mishal Husain Mishal Husain ... Newsreader
Rob Curling Rob Curling ... Newsreader
Chiwetel Ejiofor ... Luke
Jon Chevalier Jon Chevalier ... Café Customer
Julianne Moore ... Julian
Rita Davies Rita Davies ... Café Customer
Charlie Hunnam ... Patric
Kim Fenton Kim Fenton ... Café Customer
Danny Huston ... Nigel
Chris Gilbert Chris Gilbert ... Café Customer
Phoebe Hawthorne Phoebe Hawthorne ... Café Customer
Rebecca Howard Rebecca Howard ... Café Customer
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Storyline

The world's youngest citizen has just died at 18, and humankind is facing the likelihood of its own extinction. Set in and around a dystopian London fractious with violence and warring nationalistic sects, Children of Men follows the unexpected discovery of a lone pregnant woman and the desperate journey to deliver her to safety and restore faith for a future beyond those presently on Earth. Written by Production

Plot Summary | Plot Synopsis

Taglines:

No child has been born for 18 years. See more »

Genres:

Drama | Sci-Fi | Thriller

Motion Picture Rating (MPAA)

Rated R for strong violence, language, some drug use and brief nudity | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA | UK | Japan

Release Date:

5 January 2007 (USA) See more »

Also Known As:

Niños del hombre See more »

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Box Office

Budget:

$76,000,000 (estimated)

Opening Weekend:

£1,284,254 (United Kingdom), 24 September 2006, Limited Release

Opening Weekend USA:

$179,268, 24 December 2006

Gross USA:

$35,552,383

Cumulative Worldwide Gross:

$69,959,751
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

SDDS | Dolby Digital | DTS

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Ian, one the Fishes who kidnap Theo, is seen earlier in the seat behind Theo on the train to visit Jasper near the start of the film. Ian is later seen in the van when they let Theo go back in London. It likely explains how the Fishes knew to find Theo at Jasper's after the farm escape. See more »

Goofs

Just before Theo leaves the "Ark of the Arts", when the camera moves to a closeup of the painting they were discussing the shadow of the cameraman is visible. See more »

Quotes

[first lines]
Newsreader: Day 1,000 of the Siege of Seattle.
Newsreader: The Muslim community demands an end to the Army's occupation of mosques.
Newsreader: The Homeland Security bill is ratified. After eight years, British borders will remain closed. The deportation of illegal immigrants will continue. Good morning. Our lead story.
See more »

Crazy Credits

At the very end, one can read "Shanti, Shanti, Shanti" with children shouting and laughing on the soundtrack, which can be heard repeatedly throughout the end credits. This is the last line of T.S. Eliot's 1922 poem "The Wasteland." "Shanti" means "peace" in Sanskrit. See more »

Connections

Spoofed in Robot Chicken: Eaten by Cats (2013) See more »

Soundtracks

Money Honey
Written by Kevin Martin and Annette Henry
Performed by Pressure featuring Warrior Queen
Published by Chrysalis Music/Copyright Control (c) 2006
Used by permission. All rights reserved
Master courtesy of Hyperdub Records
See more »

Frequently Asked Questions

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User Reviews

 
Enthralling, haunting addition to the apocalypse genre
23 September 2006 | by trpuk1968See all my reviews

Worthy addition to a very British literary, televisual and cinematic tradition of dystopian and apocalyptic narratives. H.G Wells, John Wyndham, SURVIVORS, 28 DAYS LATER.

These texts are revealing of the times in which they were made. Rather than looking forwards,they re often, at heart, deeply conservative. They frequently express a desire for a world where the centralised, industrial society has broken down entirely, replaced by an agrarian based model comprising small, rural communities. These narratives coincided with the rise in 'alternative ' lifestyles, interest in self sufficiency, organic farming, low technology and a different relationship with the Earth. Nostalgia for a pre Industrial past is more prominent than hope and anticipation of a glorious new future when civilisations been destroyed for a new, better world to emerge.

The grand narratives which we once imagined were going to change and improve the world no longer seem credible. Following the collapse of communism, there's a distrust of ideologies, especially those of the left. Arguably, the left has collapsed in the Western World. Thats the context this film arrives in, one where there seems no meaningfully effective counterbalance to the continued dominance of global capitalism, media saturation and environmental meltdown.

Arguably this film offers some hope but my overall impression is of something a lot bleaker than other apocalypse narratives. Without children there is, literally, no future left. Although emerging from a different context, this film shares with its predecessors a thoroughly revealing indication of the concerns preoccupying the time in which it was made.

Two scenes haunted me. The man in Battersea, isolated with his art collection and the set pieces of the illegal immigrants, rounded up and caged.

The Battersea scene uses its location and choice of Picasso's Gernika painting in the background to make a searing comment on a civilisation which, despite its pretensions to Art and Culture, has managed to engineer its own extinction. A civilisation whose intellectual and cultural elites, instead of challenging the prevailing discourse, isolate themselves, collusive in a form of collective denial.

The illegals scene is composed in such a way as to recreate images from the War on Terror, images which are now iconic. Both scenes link together through use of the painting which is an inspired device. This is definitely a movie to watch and work at. I was also intrigued by the recurring animals, and reminded of Tarkovsky, whose work is consistently loaded with symbolism. The scene at the empty, abandoned school was very reminiscent of the Russian director. Also praiseworthy is the astonishing use of sound, particularly in one of the key scenes when dogs can be heard barking in the distance.

Another haunting image is that of the flowers and wreaths laid very early on, after the youngest person on earth has died. Reminiscent of the mawkishness, sentimentality and mass hysteria of those laying floral tributes to murder victims they never knew, the so called 'Diana effect'. Again, a clear reference to todays world.

This is an outstanding piece of film making, I agree totally with previous reviewers comments, especially regarding the battle scenes, which have an immediacy, bringing to mind COME AND SEE or APOCALYPSE NOW. I ll give the last word to Peter Bradshaw, The Guardian newspapers film critic who called this 'a thinking persons action movie.'


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