During a manned mission to Mars, Astronaut Mark Watney is presumed dead after a fierce storm and left behind by his crew. But Watney has survived and finds himself stranded and alone on the hostile planet. With only meager supplies, he must draw upon his ingenuity, wit and spirit to subsist and find a way to signal to Earth that he is alive.
Credits: TheMovieDb.
Film Cast:
- Mark Watney: Matt Damon
- Melissa Lewis: Jessica Chastain
- Annie Montrose: Kristen Wiig
- Teddy Sanders: Jeff Daniels
- Rick Martinez: Michael Peña
- Mitch Henderson: Sean Bean
- Rich Purnell: Donald Glover
- Beth Johanssen: Kate Mara
- Chris Beck: Sebastian Stan
- Vincent Kapoor: Chiwetel Ejiofor
- Bruce Ng: Benedict Wong
- Mindy Park: Mackenzie Davis
- Alex Vogel: Aksel Hennie
- Tim Grimes: Nick Mohammed
- Ryoko: Naomi Scott
- Zhu Tao: Chen Shu
- Guo Ming: Eddy Ko
- Mike Watkins: Enzo Cilenti
- Brendan Hatch: Jonathan Aris
- Jack: Gruffudd Glyn
- U.S. President: Geoffrey Thomas
- Chinese Flight Director: Yang Haiwen
- Wen Jiang: Narantsogt Tsogtsaikhan
- Timer Controller: Brian Caspe
- Launch Control: Szonja Oroszlán
- Guidance: Mark O’Neal
- Reporter 2: Karen Gagnon
- Blair: Lili Bordán
- Reporter 1: Nikolett Barabas
- Police Woman: Dilyana Bouklieva
- Nasa Staff Member: Björn Freiberg
- Pathfinder developer: James Fred Harkins Jr.
- NASA psychologist: Sam Spruell
- Satcon: Matt Devere
- Launcher Interface: Mike Kelly
- Capcom: Greg De Cuir
- Telemetry: Peter Linka
- Comms: Declan Hannigan
- NASA Break Room Worker: Peter Schueller
- Vincent’s Secretary: Waleska Latorre
- CNN Reporter: Frederik Pleitgen
- Robert Lewis: Charlie Gardner
- Vogel’s Wife: Nóra Lili Hörich
- Marissa Martinez: Kamilla Fátyol
- Chinese Translator: Yang Liu
- JPL Store Man: Richard Rifkin
- JPL White Room Worker: Nicholas Wittman
- JPL Pathfinder Team: Ben O’Brien
- JPL Pathfinder Team: Scott Alexander Young
- JPL Pathfinder Team: Jason Ryan
- JPL Pathfinder Team: James Dougherty
- Ming’s Secretary: Xue Xuxing
- JPL White Room Worker: Balázs Medveczky
- Receptionist: Dora Endre
Film Crew:
- Director of Photography: Dariusz Wolski
- Producer: Ridley Scott
- Costume Design: Janty Yates
- Production Design: Arthur Max
- Editor: Pietro Scalia
- Musician: Harry Gregson-Williams
- Special Effects Supervisor: Neil Corbould
- Camera Operator: Daniele Massaccesi
- Producer: Mark Huffam
- Stunt Coordinator: Rob Inch
- Foley Supervisor: Hugo Adams
- Producer: Simon Kinberg
- Visual Effects Producer: Nina Fallon
- Casting: Nina Gold
- Co-Editor: Valerio Bonelli
- Sound Effects Editor: James Harrison
- Art Direction: Robert Cowper
- Producer: Michael Schaefer
- Makeup Artist: Jana Carboni
- Line Producer: Adam Goodman
- Digital Intermediate: Paul Carlin
- Extras Casting: Veronika Varjasi
- Musician: Martin Tillman
- Casting: Zsolt Csutak
- Casting: Carmen Cuba
- Executive Producer: Drew Goddard
- Sound Re-Recording Mixer: Paul Massey
- Stereoscopic Supervisor: Richard Baker
- Still Photographer: Giles Keyte
- Concept Artist: Steve Burg
- Gaffer: Julian White
- Dialect Coach: Jerome Butler
- Art Direction: Oliver Hodge
- Layout: Jun Ren
- Additional Sound Re-Recording Mixer: Dafydd Archard
- Second Unit Director: Luke Scott
- Concept Artist: Matthew Savage
- Musician: Caroline Dale
- Epk Producer: Charles de Lauzirika
- Set Decoration: Celia Bobak
- Art Direction: Jason Knox-Johnston
- Art Direction: Mónika Esztán
- Musician: Bruce White
- Animation: Edwin Schaap
- Editorial Production Assistant: Rob Jones
- Visual Effects Technical Director: Julien Legay
- Special Effects Supervisor: Steven Warner
- Set Decoration: Zoltán Horváth
- Line Producer: Howard Ellis
- Hairstylist: Gabriella Németh
- Assistant Costume Designer: Michael Mooney
- Art Direction: Matt Wynne
- Casting Associate: Theo Park
- Visual Effects Coordinator: Tom Barber
- Visual Effects Supervisor: Sara Bennett
- Executive Producer: Aditya Sood
- Supervising Art Director: Marc Homes
- Art Direction: Phil Sims
- Costume Supervisor: Sarah Robinson
- Sound Designer: Michael Fentum
- Visual Effects Technical Director: Lyubomir Kirkov
- Supervising Music Editor: Tony Lewis
- Music Editor: Richard Whitfield
- Greensman: Jon Colson
- Compositor: Nicholas Zissimos
- Novel: Andy Weir
- Assistant Costume Designer: Richard Sale
- Visual Effects Supervisor: Adam McInnes
- Additional Script Supervisor: Julia Chiavetta
- Greensman: Mátyás Szakonyi
- Production Assistant: Melissa Espinales
- Visual Effects Producer: Clare Norman
- VFX Artist: Katie Hamberger
- Script Supervisor: Lizzie Pritchard
- VFX Editor: Mark Carr
- Visual Effects Supervisor: Richard Stammers
- Visual Effects Supervisor: Mohen Leo
- Assistant Art Director: Matt Sims
- Special Effects Manager: Anna Krawczyk
- Camera Operator: Graham Hall
- Principal Costumer: Bruno de Santa
- Script Supervisor: Annie Penn
- Art Department Coordinator: Éva Zöld
- Assistant Art Director: Annamária Orosz
- Second Assistant Sound: György Mihályi
- Visual Effects Producer: Priyanka Balasubramania
- Transportation Coordinator: Claudia Kossik
- Sound Re-Recording Mixer: Mark Taylor
- Foley Artist: Jack Stew
- Visual Effects Producer: Barrie Hemsley
- Still Photographer: Peter Mountain
- Executive Visual Effects Producer: Sarah Hemsley
- Visual Effects Editor: Collette Nunes
- Construction Manager: Zoltán Tóth
- Executive Visual Effects Producer: Lena Scanlan
- Costumer: Ildikó Fogt
- Location Manager: Rudolf András
- Property Master: Noel Cowell
- Foley Artist: Andrea King
- Production Manager: Miklós Tóth
- Greensman: Gergely Kajdi
- Camera Operator: László Bille
- Unit Publicist: Larry Garrison
- Unit Manager: Gábor Ujházy
- Visual Effects Producer: Paula Pope
- Wigmaker: Alex Rouse
- Visual Effects Editor: Cameron Sharp
- Location Manager: Giles Edleston
- Associate Producer: Teresa Kelly
- Helicopter Camera: John Marzano
- Supervising Sound Editor: Oliver Tarney
- Digital Intermediate: Todd Kleparski
- Key Hair Stylist: Maralyn Sherman
- Visual Effects Producer: Clare Heneghan
- Art Direction: Stefan Speth
- Makeup Designer: Tina Earnshaw
- Visual Effects Production Manager: Tim Pounds-Cornish
- Executive Visual Effects Producer: John Kilkenny
- Makeup Effects: Iván Pohárnok
- Visual Effects Supervisor: Justin Cornish
- Visual Effects Supervisor: Brooke Lyndon-Stanford
- Head of Production: Matthew Bristowe
- CG Supervisor: Nicolas Hernandez
- Stunt Double: Helen Steinway Bailey
- Vehicles Wrangler: Rick Marr
- Makeup Artist: Rita Balla
- CG Supervisor: Neil Weatherley
- Construction Manager: Ray Barrett
- Additional Still Photographer: Aidan Monaghan
- Visual Effects Supervisor: Tim Ledbury
- Animation: Christopher Mullins
- Stereoscopic Editor: Dhirendra Chhatpar
- Principal Costumer: Dóra Papp
- Camera Operator: Imre Juhász
- Transportation Coordinator: Gábor Szénási
- ADR Supervisor: Rachael Tate
- VFX Editor: Lauren Camilleri
- Visual Effects Producer: Daniel Matley
- Epk Camera Operator: Al Hindley
- Principal Costumer: Amanda Trewin
- First Assistant Editor: Laurence Johnson
- Compositor: Neill Barrack
- Visual Effects Supervisor: Chris Lawrence
- Props: Peter Lee
- Stereoscopic Editor: Reginald Harber Jr.
- Stereoscopic Supervisor: Daniel Schrepf
- Digital Compositor: Owen Carroll
- Pre-Visualization Supervisor: Jason McDonald
- Co-Art Director: Samy Keilani
- Assistant Sound Editor: Nick Del-Molino
- Electrician: Péter Bognár
- Visual Effects Producer: Roopesh Gujar
- ADR Mixer: Chris Navarro
- Second Unit Cinematographer: Mark Patten
- Set Designer: Chris ‘Flimsy’ Howes
- Costume Supervisor: Gábor Homonnay
- Armorer: Péter Behan
- Assistant Art Director: Shira Hockman
- Art Direction: Jonathan Houlding
- Visual Effects Coordinator: Stanislas de Lesquen
- Animation Supervisor: Greg Fisher
- Seamstress: Zsofia Laczko
- Casting Associate: Wittney Horton
- First Assistant Director: Gábor Gajdos
- Makeup Artist: Emma J. Slater
- Orchestrator: Alastair King
- Visual Effects Editor: Jenna Barratt
- Art Direction: László Rajk
- Carpenter: Norbert Alte Fieszl
- Carpenter: Zoltán Harányi
- Assistant Art Director: Rhys Ifan
- Assistant Art Director: Will Newton
- Assistant Art Director: Gergely Rieger
- Orchestrator: David Butterworth
- Foley Mixer: Adam Mendez
- Sound Recordist: Tim Maxwell
- Assistant Costume Designer: Bea Merkovits
- Makeup Artist: Móni Csomós
- Researcher: Dan Clay
- Animation Supervisor: Dale Newton
- CG Supervisor: Gourdal Sebastien
- CG Supervisor: Martin Waters
- CG Supervisor: Louis Paré
- VFX Production Coordinator: Fausto Appiolaza
- VFX Supervisor: James D. Fleming
- Visual Effects Supervisor: Anders Langlands
- Visual Effects Coordinator: Teréz Koncz
- Visual Effects Coordinator: Alysia Wildman
- Stunts: Levente Tamási
- Gaffer: Krisztián Paluch
- Visual Effects Coordinator: Deeps Hargunani
- Visual Effects Coordinator: Toby White
- Stunts: Giedrius Nagys
- Visual Effects Editor: Christopher Raiche
- Digital Compositor: Tommaso Fioretti
- First Assistant Director: Raymond Kirk
- ADR Voice Casting: Vanessa Baker
- Hairstylist: Ildikó Makk
- Digital Compositor: Nicholas Hurst
- Animation: Yvon Jardel
- Publicist: Joshua Jason
- Production Accountant: Paul B. Gibbs
- Special Effects: Nigel Nixon
- Stunts: István Koleszár
- Stunts: Ferenc Berecz
- Dolly Grip: Csaba Bankhardt
- Production Assistant: Paul O’Hara
- Stunts: Liang Yang
- Compositor: Andrew Barry
- Foley Recordist: Ben Chick
- Makeup Supervisor: Csilla Blake-Horváth
- Graphic Designer: Matt Curtis
- Head of Production: Gergö Balika
- Compositing Lead: Emily Vaillancourt
- VFX Artist: Anthony Fung
- Colorist: Stephen Nakamura
- Dolly Grip: Ferenc Szalontai
- Stand In: Tsogbaatar Batzorig
- Visual Effects Editor: Therese Skundberg Fidje
- Visual Effects Production Manager: Carlos Chacin
- Visual Effects Coordinator: Gemma Office
- Technical Supervisor: John Quartel
- Stunts: David Newton
- Animation: Kat Seale
- Stunts: Danny Euston
- Musician: Mark Berrow
- ADR Mixer: Judah Getz
- Dolly Grip: Claudio Del Gobbo
- Prop Maker: John Lee
- Additional Second Assistant Director: Tamás Vass
- Animation: Cynthia Collins
- VFX Artist: Michaël Balthazart
- VFX Artist: Quentin Sauvinet
- Stunt Double: William Willoughby
- Digital Compositor: Alejandro Villabon
- Musician: Peter DiStefano
- Musician: Steve Mair
- Grip: András Pozsár
- Creature Effects Technical Director: Steven Sandles
- Key Grip: Imre Sisa
- Production Sound Mixer: Mac Ruth
- Second Assistant Sound: Balazs Varga
- Unit Production Manager: Francesca Cingolani
- Key Grip: Tommaso Mele
- Assistant Editor: Zach Marshall
- Additional Editor: Cheryl Potter
- Best Boy Grip: Massimiliano Dessena
- Costumer: Gabor Szabo
- Visual Effects Technical Director: Luke Gray
- Musician: Daniel Bhattacharya
- Special Effects Technician: Charlie Pedersen
- Producer’s Assistant: Amy Arce
- VFX Artist: Mnandi Ridley
- Gaffer: Shawn White
- Visual Effects Editor: Leah Jones
- Post Production Coordinator: Hanna Griffiths
- Lighting Technician: Kieran Waites
- Stunts: Simon Whyman
- Sound Mix Technician: Max Walsh
- Art Department Assistant: Attila Illés
- Visual Effects Coordinator: Hannah Lewis
- Visual Effects Coordinator: Mariangela Suma
- Producer’s Assistant: Hannah Ireland
- Visual Effects Production Manager: Rebecca Scott
- Visual Effects Editor: Kelly Noordermeer
- Production Supervisor: Diala Al Raie
- Compositor: Natalie MacDonald
- Rigging Gaffer: Antal Berger
- Compositor: Neil Alford
- Key Grip: István Török
- Systems Administrators & Support: Tom Davies
- Digital Imaging Technician: Ryan Nguyen
- Visual Effects Producer: Anouk L’Heureux
- Compositing Supervisor: Bronwyn Edwards
- Visual Effects Editor: Richard Ketteridge
- Digital Compositor: Alasdair McNeill
- Makeup Artist: Jane Oginsky
- Stereoscopic Coordinator: Hannah Walker Edwards
- Draughtsman: Petra Balogh
- Modeling: Dániel Miklós
- Best Boy Grip: Carlo Postiglione
- Executive Visual Effects Producer: Sara Trezzi
- Draughtsman: Orsolya Maza
- Construction Coordinator: Máté Herjeczki
- Prop Maker: Tamas Gelei
- Prop Maker: Istvan Muranyi
- Prop Maker: Torma Zoltán
- Production Accountant: Michael Vasquez
- Visual Effects Technical Director: Allyn Lawson
- Set Dresser: Ferenc Brandenburg
- Extras Casting: Zsolt Ferenc Maier
- Digital Compositor: Camille Paleni
- Musician: Rachel Bolt
- Musician: Roger Linley
- Musician: Boguslav Kostecki
- Epk Camera Operator: Zsolt Big Nagy
- Visual Effects Production Manager: Carlos Ciudad
- Digital Compositor: Delphine Garrelis
- Digital Compositor: Khaled Labidi
- Digital Compositor: Thomas Lefebvre
- Digital Compositor: Jeremy Séguin
- Visual Effects Coordinator: Melody Alasset
- Dolly Grip: Stuart Godfrey
- Digital Compositor: Giacomo Mineo
- Compositor: Delphine Buratti
- Draughtsman: Alex Bowens
- Digital Compositor: Julien Martins
- Animation: James Berkley
- First Assistant Camera: Alberto Torrecilla
- Production Manager: James Yeoman
- Visual Effects Coordinator: Vikki Chapman
- First Assistant Director: Hannah Quinn
- Compositing Lead: Mirek Suchomel
- VFX Artist: Scott Mitchell
- Compositing Supervisor: John J. Galloway
- Data Wrangler: Jeannie Yeung
- Senior Animator: Prajakta Nandlaskar
- Pipeline Technical Director: Nicholas Hampshire
- Visual Effects Coordinator: Jane Simons
- Visual Effects Coordinator: Timothy Trimmings
- Digital Compositor: Yavor Asenov
- Second Assistant Camera: Tibor Gulyás
- Data Wrangler: Máté Oláh
- Set Dresser: Gabor Papp
- Visual Effects Coordinator: Soujanya Pentyala
- Electrician: Andras Rudasy
- Electrician: David Rondzik
- Electrician: Istvan Banga
- Stunts: György Szántó
- Stunts: Gabor Szeman
- Stunts: Norbert Kovács
- Stunts: Gergö Horpácsi
- Stunt Double: Balázs Farkas
- Concept Artist: Kamen Anev
- Concept Artist: Dan Walker
- Special Effects Technician: Noah Meddings
- Costumer: Nora Pinter
- Pre-Visualization Coordinator: Kathrin McCarthy
- Pre-Visualization Supervisor: Vincent Aupetit
- Stereoscopic Supervisor: Rohan Tirkey
- Stereoscopic Coordinator: Mary Lobb
- First Assistant Camera: Kenny Groom
- VFX Artist: Albena Ivanova
- VFX Artist: Velichko Ivanov
- Props: Csaba Mitku
- Second Assistant “C” Camera: Péter Meiszner
- Construction Manager: Balázs Kovács
- Extras Dresser: Rita Zsilvölgyi
- Principal Costumer: Brigitta Katona
- Special Effects Technician: Gergely Glovotz
- First Assistant Sound Editor: Szabolcs Stella
- Concept Artist: Lee Oliver
- Compositor: Sandra Chocholska
- Special Effects Technician: Declan O’Donnell
- Best Boy Grip: Zsolt Jámbor
- Visual Effects: Philip Sisk
- Principal Costumer: Victoria Taylor
- Visual Effects Coordinator: Katherine Smith
- Special Effects Assistant: Sam Perez
- Visual Effects Coordinator: Diana Roldán
- Digital Compositor: Andrea Dutti
- Matte Painter: Sarah Neveu
- Visual Effects Coordinator: Christina-Cassandra Barazin
- Production Manager: Fuad Khalil
- Visual Effects Production Manager: Cynthia Crimmins
- Head of Layout: Michael Becki
- Digital Compositor: Carlos Miras Sepulveda
- Digital Compositor: Claudio Bassi
- Assistant Makeup Artist: Szilvia Varró
- 24 Frame Playback: Balázs Rozgonyi
- 3D Modeller: Attila Ferenczi
- Assistant Art Director: Zsolt Tarnok
- Assistant Director: Mohammad Kloob
- Assistant Director: Vera Janisch
- Assistant Location Manager: Mátyás Vándor
- Assistant Production Manager: Tamás Gál
- Assistant Property Master: Nimrod Hajdu
- Construction Manager: Akos Menyhart
- Construction Manager: József Kiss
- Draughtsman: Gergely Álmos
- Greensman: Márk Langfeld
- Modeling: Attila Deák
- Modeling: Gábor Hankó
- Modeling: Gergo Deák
- Modeling: László Móré
- Modeling: Zita Galántai
- Production Manager: Ashish Kukian
- Production Manager: James Smith
- Property Buyer: Imre Burján
- Property Buyer: Magdi Kondorosi
- Prop Maker: Gabor Meszaros
- Prop Maker: Konstantin Legat
- Prop Maker: John Halls
- Props: Andrew Ainscow
- Sculptor: Balazs Pelcz
- Second Assistant Director: Bogi Móricz
- Second Assistant Director: Béla Bagota
- Set Dresser: Bálint Diószegi
- Set Dresser: Tibor Gaál
- Set Dresser: Viktor Bakos
- Special Effects Assistant: Gergö Bajczár
- Special Effects Coordinator: Csaba Bagossy
- Special Effects Technician: Chris Motjuoadi
- Special Effects Technician: Florin Daniel Catrinoiu
- Special Effects Technician: Rajmund Gál
- Special Effects Technician: Szilard Gergely
- Special Effects Technician: Tibor Skornyak
- Standby Art Director: Huw Arthur
- Storyboard Artist: Tracey Wilson
- Third Assistant Director: Tamás Péter Chipie
- ADR Recordist: Benjamin McCulloch
- Musician: Andy Parker
- Musician: Cathy Thompson
- Musician: Chris Worsey
- Musician: David Lale
- Musician: Emlyn Singleton
- Lyricist: Chris Katinas
- ADR Recordist: Ferenc Lukács
- First Assistant Sound Editor: Attila Kohári
- Second Assistant Sound: Bence Németh
- Sound Mixer: Brandon Moncy
- Stunt Coordinator: Nicole Chapman
- Stunt Double: Casey Michaels
- Stunts: Aaron Muir
- Stunts: Chris Newton
- Stunts: Clem Leneghan
- Stunts: Csaba Schulek
- Stunts: Csabu Elekes
- Stunts: Danny Sansom
- Stunts: Daryl Andrews
- Stunts: Donna Williams
- Stunts: Fizz Hood
- Stunts: Florian Robin
- Stunts: Krystof Hansbury
- Stunts: Richard Kent
- Layout: Giuseppe Pagnozzi
- Animation: Andy Le Cocq
- Animation: Leo Recompsat
- Additional First Assistant Camera: István Gottmann
- Assistant Editor: Elise Anderson
- Assistant Editor: Alex Gilbert
- Assistant Location Manager: Attila Kenyeres
- Assistant Location Manager: Oliver Bradbury
- Assistant Location Manager: Rasul Kalyayev
- Camera Operator: Ioan Gavrilowitsch
- Camera Trainee: Krisztián Reinhardt
- Costume Assistant: Kathryn Avery
- Costume Assistant: Sonia Booth
- Costume Assistant: Sylvianne Shurman
- Costume Coordinator: Balázs Labancz
- Costume Coordinator: Michelle Wraight
- Digital Imaging Technician: János Jack
- Digital Imaging Technician: Quentin Brown
- Driver: Viktor Lehoczki
- Editorial Production Assistant: Márton Vojnits
- Electrician: Krisztián Horváth
- First Assistant Camera: Matthew DeBonis
- Focus Puller: Tamás Jánossa
- Grip: Dániel Bérces
- Grip: János Kovács
- Grip: Máté Bankhardt
- Libra Head Technician: Ian Speed
- Location Manager: Ágoston Félegyházy Megyesy
- Location Manager: Saeb Abul Ragheb
- Transportation Captain: Gabor Kisgyorgy
- Production Driver: Dezso Pócsik
- Production Driver: Gábor Keszei
- Second Assistant Camera: Adam Dorney
- Camera Trainee: Szabolcs Sitkei
- Stereoscopic Editor: Abhijeet Yerunkar
- Stereoscopic Editor: Priyal Mahadik
- Stereoscopic Editor: Smeet Vedant
- Stereoscopic Editor: Vaibhav Marathe
- Transportation Captain: Amer Ansouqa
- Video Assist Operator: Krisztián Nagy
- Thanks: Robert Jacobs
- Thanks: Attila Kárpáti
- Thanks: Dave Lavery
- Thanks: Bert Ulrich
- Second Assistant Accountant: Joe Petényi
- Assistant Production Coordinator: Fruzsi Morotz
- Assistant Production Coordinator: Tala Olabi
- Producer’s Assistant: Ally Pennebaker
- Producer’s Assistant: Kira Thompson
- Producer’s Assistant: Nikki Baida
- Producer’s Assistant: Sara Rastogi
- First Assistant Accountant: Pierre Cheminat
- First Assistant Accountant: Susannah Kudrath
- First Assistant Accountant: Erika Tamás
- First Assistant Accountant: Mohammad Atallah
- Information Systems Manager: Gabor Dornyei
- Key Production Assistant: Ziad Sunna
- Publicist: Álvar Carretero de la Fuente
- Production Accountant: Kolos Trimmel
- Production Accountant: Ahmad Al-Abbas
- Production Assistant: Bence Bognar
- Production Assistant: Nikoletta Szabo
- Production Assistant: Tareq Shuqom
- Production Assistant: Zsolt Vereckei
- Production Assistant: Zsuzsanna Kurucz
- Production Coordinator: Rita Galántai
- Production Coordinator: Vinay Gautam
- Production Coordinator: Nada Atieh
- Production Coordinator: Maria Mira
- Production Coordinator: Leila Mousavi
- Production Secretary: Zsófia Zatureczki
- Sculptor: Ivan Shannon
- Second Assistant Accountant: Brian James Cote
- Second Assistant Accountant: Gyorgy Dejtari
- Second Assistant Accountant: Barnabás Kovács
- Second Assistant Accountant: David Boros
- Set Production Assistant: Gergely Apjok
- Set Production Assistant: Zsani Nyerky
- Travel Coordinator: Elvira Elisabet Veron
- Unit Manager: K.K. Hareb
- Animation: Tom Kloucek
- Visual Effects Art Director: Martin Macrae
- Compositing Supervisor: Reyffer Sousa
- Compositing Supervisor: Javier Roca
- Compositor: Antoine Ambert
- Compositor: Caboche Nicolas
- Compositor: Frederikke Glick
- Compositor: John Durney
- Compositor: Jon Reid
- Compositor: Mark Tremble
- Compositor: Owen Jackson
- Compositor: Peter Blackburn
- Compositor: Richard Courtman
- Compositor: Tomos Sion
- Compositor: Zebastian Lilja
- Compositor: Bruce Nelson
- Compositor: Claudia Lechen
- Compositor: Igor Fiorentini
- Compositor: Leonardo Paolini
- Compositor: Matthew Patience
- Compositor: Mattis Gaston Larsen
- Compositor: Naveen Shukla
- Compositor: Sam Salek
- Compositor: Bryan Bartlett
- Compositor: Laurent Reynaud
- Compositor: Michael Honisch
- Creature Effects Technical Director: Owyn Abram
- Creature Effects Technical Director: Sejas Mehta
- Creature Effects Technical Director: Mayur Samant
- VFX Artist: Vivek Nair
- Digital Compositor: Adrián Pueyo
- Digital Compositor: Alvaro Cajal
- Digital Compositor: Anastasios Agiakatsikas
- Digital Compositor: Angela Rinaldi
- Digital Compositor: Atyeb Muneer
- Digital Compositor: Charlotte Larive
- Digital Compositor: Eduardo Villarreal
- Digital Compositor: Emily Greeley
- Digital Compositor: Eric So
- Digital Compositor: Eric Tetreault
- Digital Compositor: Felix Turesson
- Digital Compositor: Filippo Golin
- Digital Compositor: Florent Taisne
- Digital Compositor: Gabriele Ciaccio
- Digital Compositor: George Petkov
- Digital Compositor: Giacomo Bargellesi
- Digital Compositor: Gianluca Vecchio
- Digital Compositor: Greg Howe-Davies
- Digital Compositor: Ian Fellows
- Digital Compositor: Jaideep Mohan
- Digital Compositor: Jean-Baptiste Godin
- Digital Compositor: Jean-Sébastien Fortin
- Digital Compositor: Karen Elliott
- Digital Compositor: Kasy Stein
- Digital Compositor: Keith Jones
- Digital Compositor: Lars Erik Eriksen
- Digital Compositor: Lindsay M. Hoppe
- Digital Compositor: Luca Serafini
- Digital Compositor: Luciano Lopes
- Digital Compositor: Marc Czerwiec
- Digital Compositor: Marijus Neverdauskis
- Digital Compositor: Miguel Ponce
- Digital Compositor: Oliver Johnstone
- Digital Compositor: Patricia Llaguno
- Digital Compositor: Prajwal Vas
- Digital Compositor: Scott Dawkins
- Digital Compositor: Sribalaji Santharam
- Digital Compositor: Stoycho Dimitrov
- Digital Compositor: Thompson Conradi
- Digital Compositor: Venkatesh Ramu
- Digital Compositor: Victor Morejon
- Digital Compositor: Hugo Gauvreau
- Digital Compositor: Nico Coronado
- Digital Compositor: Francis Gagnon
- Digital Compositor: Bjarni Robert Bragason
- Digital Compositor: Cecile Peltier
- Digital Compositor: David Vivaldini
- Digital Compositor: Gavin McKenzie
- Digital Compositor: Heidi Dahle
- Digital Compositor: Jonathan Turner
- Digital Compositor: Ludovic Fregé
- Digital Compositor: Luke Sikking
- Digital Compositor: Mark Millena
- Digital Compositor: Michael Baker
- Digital Compositor: Michael Bovberg
- Digital Compositor: Rafael Vormittag
- Digital Compositor: Carlos Conceicao
- Digital Compositor: Luca Mignardi
- Digital Compositor: Alessandro Favale
- Digital Compositor: Artiom Kusci
- Digital Compositor: Cédric Battude
- Digital Compositor: Charles-e Farkas
- Digital Compositor: Daniel Alejo
- Digital Compositor: Denny Ertanto
- Digital Compositor: Giulia Cadeddu
- Digital Compositor: Hernan Barros
- Digital Compositor: Iyi Tubi
- Digital Compositor: Jonny Gu
- Digital Compositor: Josh Parks
- Digital Compositor: Ken U. Ogbo
- Digital Compositor: Korinne Cammarano
- Digital Compositor: Kristian Rejek
- Digital Compositor: Martin Fischer
- Digital Compositor: Mirko Morciano
- Digital Compositor: Rob Bryson
- Digital Compositor: Ruben Athouel
- Digital Compositor: Aoife Greenham
- Digital Compositor: James Moxon
- Digital Compositor: Noemie Cruciani
- VFX Director of Photography: Nigel Stone
- Visual Effects Technical Director: David Kirchner
- Visual Effects Technical Director: Aaron Baudin
- Visual Effects Technical Director: Alexis Claux
- Visual Effects Technical Director: Aaron Dennis
- Head of Layout: Ruth Asensio
- Head of Production: Lauren McCallum
- Compositing Lead: Erik Schneider
- Compositing Lead: John Van Hoey Smith
- Compositing Lead: Julien Rousseau
- Compositing Lead: Philippe Roberge
- Compositing Lead: Sam Osborne
- VFX Artist: Johannes Richter
- VFX Artist: Marc Rice
- VFX Artist: Florence Durante
- Pipeline Technical Director: Declan McGuire
- Pipeline Technical Director: Henry Bush
- Lighting Manager: Lucinda Keeler
- Matte Painter: Jacek Pilarski
- VFX Artist: Rahul Sinha
- Visual Effects Production Manager: Sam Spacey
- Visual Effects: Gopi Krishnan
- Visual Effects Coordinator: George Kolyras
- Visual Effects Coordinator: Nadia Volodina
- Visual Effects Coordinator: Will Newis
- Matte Painter: Emile Hardy
- Matte Painter: Hubert Zapalowicz
- Matte Painter: Martine Guay
- Matte Painter: Jamie Schumacher
- Stereoscopic Supervisor: Ryan Hirsh
- Stereoscopic Supervisor: Barry O’Brien
- Matchmove Supervisor: Joey Harris
- Stereoscopic Supervisor: Gareth Daley
- Stereoscopic Supervisor: Marc Brzezicki
- Layout: Alberto Hernandez Rodriguez
- Layout: Rosie Keane
- Layout: Sonia Contreras
- Layout: Vanessa Isabelle
- Production Coordinator: Jérémie Maitrejean
- Sequence Lead: Petra Schwane
- Systems Administrators & Support: Harvey West
- Systems Administrators & Support: Taz Lodder
- Pipeline Technical Director: Colas Fiszman
- Pipeline Technical Director: Hantong Tang
- Pipeline Technical Director: Raggini Eva
- Pre-Visualization Coordinator: Emily DeVitt
- VFX Artist: Alonso Varela
- VFX Artist: Arkin Esref
- VFX Artist: Ben Fleming
- VFX Artist: Duncan Kinnaird
- VFX Artist: Elisabeth Dugnas
- VFX Artist: Hugo Montambault
- VFX Artist: James Pyper
- VFX Artist: Jamil Daoud-Khatoun
- VFX Artist: Khalid Almeerani
- VFX Artist: Matt Bowler
- VFX Artist: Miguel Castrillo
- VFX Artist: Mollie Connor
- VFX Artist: Raghu P. Ravichandran
- VFX Artist: Tim Marinov
- Visual Effects Coordinator: Dominique Chartrand
- VFX Production Coordinator: Steven Barham
- Visual Effects: Lalit Madhukar Dawale
- Visual Effects: Owen E. Williams
- Visual Effects Coordinator: Andrew Fitchett
- Visual Effects Coordinator: Ingrid Pons
- Visual Effects Coordinator: Kartiki
- Visual Effects Coordinator: Miranda Middlewood
- Visual Effects Coordinator: Peter Hartless
- Visual Effects Coordinator: Sherin Padayatty
- Visual Effects Coordinator: Tsvetomira Valcheva
- Visual Effects Production Manager: Mari Levitan
- Visual Effects Producer: Bojana Solomonova
- Visual Effects Producer: Laia Alomar
- Visual Effects Production Assistant: Dóra Sárközi
- Visual Effects Production Assistant: Millie Clarke
- Visual Effects Production Assistant: Sara Lucia Alvarez
- Visual Effects Production Manager: Dorota Kowalska
- Visual Effects Production Manager: Sarah Essam
- Visual Effects Supervisor: Aleksandar Vishemirski
- Visual Effects Technical Director: Swapnil Kulkarni
- Visual Effects: Gergely Takács
- Second Second Assistant Director: Nick Thomas
- Digital Compositor: David Crawford
- VFX Artist: Florian Boury
Movie Reviews:
- Frank Ochieng: ‘The Martian’ is definitely in the creative wheelhouse of filmmaker Ridley Scott whose Science Fiction sensibilities are grounded in colorful futuristic fantasies that tiptoe in grand whimsy. The veteran auteur responsible for such pop cultural high-minded spectacles in ‘Alien’, ‘Blade Runner’ and even the mixed bag reception of ‘Prometheus’ certainly brings a sophisticated and thought-provoking vibe to the probing aura of ‘The Martian’. As with other Scott-helmed productions, ‘The Martian’ settles nicely in its majestic scope that taps into visual wonderment, humanistic curiosities, technical impishness and the surreal spryness of the SF experience.
The exploratory nature of ‘The Martian’ is its own noteworthy mission. Scott arms his frothy planetary odyssey with a sense of thematic inquisitiveness and intelligence while meshing human consciousness and scientific forethought. Clearly, ‘The Martian’ is astutely meditative and one can thankfully block in their memory banks some of Scott’s mediocre misses (anyone care to recall the monumental mishaps in the form of the flimsy ‘The Counselor’ or the unintentional laughfest that was ‘Exodus: Gods And Kings’?). Rightfully so, ‘The Martian’ shares its crafty crater of similarities with other space-place spectacles that resonated with the imagination and innovation such as the Academy Award-winning ‘Gravity’ and the under-rated ‘Interstellar’.
Quite frankly, ‘The Martian’ is elegantly arresting in its sheer skin for both the character studies and the major plight involved (particularly anchored on the shoulders of star Matt Damon as the contemplative lead) as well as the trademark Scott-induced flourishes that incorporate crisp and cunning visual special effects and a sweeping musical score that invites a transfixing hold on one’s indelible spirit.
‘The Martian’ is the film adaptation of Andy Weir’s best-selling tome. Scott’s disciplined direction and screenwriter Drew Goddard’s ambitious vision of Weir’s compelling written material seemingly gels in convincing, cerebral fashion. The premise is not wildly original as it revisits the familiar foundation of a lost soul in survival mode trying to take on the treacherous surroundings with philosophical conviction. Nevertheless, this does not make ‘The Martian’ any less formidable in its soul-searching perspective. Scott’s narrative on individualism and isolation with a tremendous technological tilt truly registers with boisterous bounce. Amazingly, Scott has assembled a capable and committed cast that are dedicated to making ‘The Martian’ look resourcefully skillful in its masterful mischievousness. Sure, The Martian’s lengthy running time is staggering but it is compelling enough to invest in its meandering, adventurous narrative.
The ultimate nightmare (or perilous predicament…take your choice) has been realised for one stranded space traveler in Mark Watney (Matt Damon). You see…poor astronaut Watney had the misfortune of losing contact with his commander in Melissa Lewis (Jessica Chastain) and the rest of his crew when undergoing a scientific expedition to examine the terrain on Mars. Courtesy of an unexpected freakish storm Watney is separated from his comrades and believed to be dead as a result of the hazardous weather conditions on Mars. Lewis and her associates have no choice but to head back to Earth as searching for Watney may prove to be futile and endanger their lives as well.
Thus, Mark Watney is basically his own forced-upon version of ‘Robinson Crusoe On Mars’. There is no option for Watney but to allow his major survival instincts to kick in while striving for his jeopardised livelihood on the unpredictable and treacherous Red Planet’s jagged landscape. Despite being stuck in hostile territory, Watney must use his background skills as a trained botanist to cultivate the scarce food he must rely on for his unconventional nutrition. The only ‘companion’ that Watney has to relate to rests in the recorded device that captures his harried thoughts through video diaries (at least this is more practical than what Tom Hanks’s ‘Castaway’ character had in his possession with inanimate object best buddy, Wilson the volleyball).
In the meanwhile, the devastating news about Mark Watney’s possible death far beyond the reaches of home hits his colleagues understandably hard as tributes start to pour in remembrance of the seemingly dearly departed space pioneer. Soon, there is some measure of hope when NASA officials that include head honchos Teddy Sanders (Jeff Daniels from TV’s ‘The Newsroom’), Vincent Kapoor (the Oscar-nominated Chiwetel Ejiofor from ’12 Years A Slave’) and Mitch Henderson (Sean Bean) find evidence that Watney may be alive and ready to be rescued. Naturally, a sense of urgency is warranted to retrieve the weary astronaut without causing too many public relations waves. This puts press aide Annie Montrose (Kristen Wiig) into damage control mode in particular.
Okay…so it is not as scenic as Yellowstone National Park but the rocky region in THE MARTIAN still has some unassuming charm, right?
Okay…so it is not as scenic as Yellowstone National Park but the rocky region in THE MARTIAN still has some unassuming charm, right?
Importantly, ‘The Martian’ is clever and carefully conceived because it does not have to rely on the excess baggage to convey its entertainment value in a series of hyperactive and hedonistic happenings. Ridley Scott is soundly methodical in presenting a low-key terrifying tale of loneliness and resiliency and what it takes to handle the pressure of adversity when there is no glimmer of humanity around to reinforce or remind one of such psychological obstacles. The intriguing factor here is the science-friendly serving of intelligence and insight that builds up the audience’s appreciation for the underlying suspense. Interestingly, the conflict approached in ‘The Martian’ is not so much the back-and-forth high-scale struggles of man versus outlandish creature or an over-the-top diabolical deviant out to destroy the world in cartoonish fashion. No, the genuine combative and confrontational war of will is contained in one vulnerable man’s ability to face the unknown grounded in both doubt and determination. Hence, Scott has made a palpable thinking man’s Science Fiction exposition rooted in articulated forethought.Damon more than holds his own as the disillusioned botanist/astronaut out on an ominous limb as his doomed odyssey of uncertainty is something that the common viewer can embrace and relate to without question. The perceived opulence in ‘The Martian’ is not contained in the film’s production values per se (Scott has made previous movies with more visual vitality and purpose) but subtly showcased in the concepts of knowledgeable tidbits concerning food rations, mathematical equations, crucial time tables, planetary probes, NASA-themed procedural techniques and aerodynamics considerations.
Hopefully, ‘The Martian’ is not dismissed as a foreign alien in the minds of ardent movie-going SF enthusiasts looking for a realistic and soulful space-age adventure with a refreshing backbone of scientific curiosity and candidness.
The Martian (2015)
20th Century Fox
2 hrs. 35 mins.
Starring: Matt Damon, Jessica Chastain, Jeff Daniels, Kristen Wiig, Michael Pena, Sean Bean, Chiwetel Ejiofor, Kate Mara, Sebastian Stan, Donald Glover and Benedict Wong
Directed by: Ridley Scott
MPAA Rating: PG-13
Genre: Science Fiction/Space Adventure/Science and Fantasy
Critic’s rating: *** 1/2 stars (out of 4 stars)
- Per Gunnar Jonsson: This is a movie that I have to say that I have a bit of a difficulty in rating. Quite honestly I was sorely tempted to remove a star, or even two stars. Why? Because it is full of Hollywood nonsense, scientific errors, it is rather predictable and it did feel a bit like a Apollo 13 rip-off. Why did I not remove those stars? Well, it is rather entertaining even if, at times, I squirmed in my seat.
The movie starts of with a somewhat implausible event where a unexpected storm hits the Mars camp which forces the ground crew of the Mars mission to hurry back to the launch vehicle before it tilts over. The launch vehicle gradually tilts a degree at the time. Is it just me finding this strange? Would storms on Mars defy the usual rules of weather dynamics that they would exert a constant pressure which would cause a slow but constant tilt of a construct like that. No gusts, no change in pressure? And why would it gradually tilt at all? Once the force would be enough for the landing struts on one side to leave the ground it would pretty much tilt right away. Okay, I am being picky so lets give that a benefit of a doubt for the time being.
Obviously one guy is lost during the dramatic events. This is equally obviously 100% predictable. The fact that the guy is still alive after the rest of the crew blasted off is obviously also 100% predictable but then, this you should have pretty figured out from the title of the move after all.
A lot of the rest of the movie is following this guys quest for survival on Mars using the left over equipment at his disposal and the NASA crew on Earth trying to rescue him. Yes the NASA crew on Earth does discover that he is alive which, again, is pretty much predictable. Of course this gave Hollywood the opportunity to add a utterly dislikable political bureaucrat that is pretty much in the movie for one reason and one reason alone…to be dislikable. Personally I just found him tiresome. But then, Americans seems to like these kind of people given the kind of trash that we see being pushed towards the upcoming presidential elections…from both sides!
There are a lot of good stuff in the movie. Even though it is rather predictable there are some suspense in it, there are a lot of good scenery, and even though you pretty much knows what is going to happen you do feel like cheering for the hero. Given the script I think a lot of the actors did a rather good job of their roles.
If the script writers would have brought on some decent scientific advisors I would say this would have been a great movie but it was frequently goofed up with issues that was just stupid. Like digging down a nuclear reactor a few feet in the ground. What the f… good was that supposed to do? And the constant use of simple plastic and duct tape to seal the environment. Yeah, right. Sure, Mars do have some atmosphere so it is not vacuum we are talking about but then in other scenes they seemed to assume almost zero atmosphere and made quite a bit use of explosive decompression effects.
Okay, okay I am probably nitpicking quite a bit here but, unlike many Science Fiction movies, this one tries to give an impression of being within the realms of realism and it is just too full of classical Hollywood mishaps for my taste.
As I wrote above I still think it is a movie worth watching. It has some suspense, it is well done from a photographic point of view and the actors are doing a decent job. I think 7 out of 10 stars is a fair rating but it should certainly not have more.
- Andres Gomez: This is a movie following the lead started with Gravity with the human main character fighting for survival in space.
The plot has a good combination of suspense, action, humor and drama. Damon performs well and the rest of the cast does a good job and has been well chosen.
It is not a magnificent movie but it is good enough to fill a couple of hours of entertainment.
- izgzhen: This movie is very entertaining and really imaginative. The narrative is well controlled so you don’t feel bored or exhausted. The part that I like best is when the accident happened and Witney lost all his crops, the despair he had and the noisy scary sound of strong Mars winds blowing outside the base. The real loneliness.
However, this movie’s plot was too straight-forward as I see. Nearly every action proposed by the sorts of parties and organization was execute, taking the story forward without stagnation. But this also made everything look too artificial. In comparison, Robinson Crusoe was much more twisted.
- kalafut: Liked it.
- Wuchak: ***Realistic account of trying to survive on Mars while awaiting rescue***
In 2035 an astronaut (Matt Damon) gets stuck on Mars after he is presumed dead and his team departs without him. When NASA eventually finds out that he’s alive & well they have to find a way to save him. But can he survive for the next couple of years until they arrive? Jeff Daniels plays the director of NASA while Jessica Chastain plays the leader of the vessel. Sean Bean, Chiwetel Ejiofor and several other notables are on hand.
The only way for Ridley Scott’s “The Martian” (2015) to work is if it can convince you that Damon’s character is actually on Mars, which it does spectacularly and realistically (minus a few forced dramatics or stabs at humor here and there). If, like me, you’re fascinated by Mars or the potential of living on another planet in the real world, “The Martian” is a must.
It’s reminiscent of movies like “Armegeddon” (1998), “Mission to Mars” (2000), “Gravity” (2013) and “2001: A Space Odyssey” (1968), albeit without the fantastical elements of some of these. It even brings to mind the first acts of “Planet of the Apes” (1968) and “Beneath the Planet of the Apes” (1970).
The movie scores pretty well on the female front with Chastain, Mackenzie Davis, Kate Mara and Kristen Wiig. Davis looks good in tight pants.
The film runs 2 hours, 24 minutes.
GRADE: A-/B+
- Peter McGinn: I feel like this science fiction movie was a stunning achievement, for at least a couple of reasons. Firstly, for much of the time it is a one man show, and that can be risky in a feature length film. It worked with acclaimed actors Tom Hanks in Cast Away, and with Robert Redford in All is Lost, but could it work with Matt Damon in a sci-fi flick? Well, I answer that question with a resounding ‘yes.’
The movie does cut away to planet Earth and the spaceship returning home without him, so it isn’t all Damon all the time. And some humor is injected here and there to offset the character’s grim situation. I liked the line where he referred to himself as the greatest biologist on the planet. As the only current resident on Mars at that time, he was also the worst biologist on the planet!
Another reason this film is remarkable is because there is a lot of science here, which drives the plot as he has to solve continuous problems that arise, not with brute strength or other physical,skills, but with his analytical mind. And yet the details don’t get tedious or overly technical. Oddly enough, it is not a movie I will watch multiple times, as I have lesser robust sci-fI entries such as Super 8 or Monsters, but I plan to watch it at least one more time, just out of appreciation for the solid job that was done in adapting what much must have been a very challenging story to film and have it be both entertaining and informative, both scientific and an amazing adventure.