Arrival

Taking place after alien crafts land around the world, an expert linguist is recruited by the military to determine whether they come in peace or are a threat.
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Credits: TheMovieDb.

Film Cast:

  • Dr. Louise Banks: Amy Adams
  • Ian Donnelly: Jeremy Renner
  • Colonel G. T. Weber: Forest Whitaker
  • Agent Halpern: Michael Stuhlbarg
  • General Shang: Tzi Ma
  • Captain Marks: Mark O’Brien
  • Hannah (12 yrs. old): Julia Scarlett Dan
  • Hannah (8 yrs. old): Abigail Pniowsky
  • Hannah (6 yrs. old): Jadyn Malone
  • Hannah (4 yrs. old): Carmela Nozza Guizzo
  • Environmental Tech: Andrew Shaver
  • News Reporter: Shawn Campbell
  • Deputy Director of the CIA Dan Ryder: Larry Day
  • Environmental Tech: Pat Kiely
  • Dr. Kettler: Frank Schorpion
  • Private Lasky: Lucas Chartier-Dessert
  • CNAC Anchor: Lucy Van Oldenbarneveld
  • Dr. J. Bydwell: Sonia Vigneault
  • Richard Riley: Mark Camacho
  • Press Secretary: Sabrina Reeves
  • Chinese Scientist: Russell Yuen
  • Australian Scientist: Julian Casey
  • British Scientist: Tony Robinow
  • Danish Scientist: Anana Rydvald
  • Chinese Scientist: Ruth Chiang
  • Russian Officer: Sergiy Marchenko
  • Student with Smartphone: Brittany Teo
  • Private Combs: Chistian Jadah
  • Cryptographer #1: Joe Cobden
  • Cryptographer #2: Lorne Brass
  • Cryptographer #3: Genevieve Sirois
  • Sierra Leone Representative: Abdul Ayoola
  • Sudanese representative: Bineyam Girma
  • African Representative: Abdelghafour Elaaziz
  • Venezuelan Representative: Daniel Esteban
  • American TV News Anchor: Hal Roberts
  • Preacher: Matthew Willson
  • Science Team Member #1: Victor Andres Trelles Turgeon
  • Science Team Member #2: Michael Nangreaves
  • Master Sergeant Douglas: Robert D. Morais
  • Foreign Correspondent: Mustafa Haidari
  • Chinese Man: Albert Kwan
  • Communications Operator #1: Reda Guerinik
  • Communications Operator #2: Adrien Benn
  • Communications Operator #3: Sasha Samar
  • Communications Operator #4: Kathleen Stavert
  • Nurse: Kattia Thony
  • Nurse: Leisa Reid
  • Lieutenant: Brent Skagford
  • Soldier: Gurdeep Ahluwalia
  • TV Anchor: Brian Dunstan
  • TV Anchor: Dan Duran
  • TV Anchor: Lori Graham
  • TV Anchor: Orla Johannes
  • TV Anchor: Sangita Patel
  • TV Anchor: Tammie Sutherland
  • TV Anchor: Max Walker
  • TV Anchor: John Sanford Moore
  • TV Anchor: Camille Ross
  • TV Anchor: Ola Sturik
  • Skype CIA Agent (uncredited): Karen Belfo
  • MIT College girl (uncredited): Chloë Bellande
  • Halpern’s Deputy Director (uncredited): Philippe Hartmann
  • US Army Major (uncredited): Laurean Adrian Parau
  • Gala Guest (uncredited): Nathaly Thibault
  • Middle Aged Woman (uncredited): Leslie Baker
  • Private Combs: Christian Jadah
  • Japanese Minister: Alex M. Yeuh
  • Soldier: Dave Campbell
  • Venezuelan Military: Alexander Da Mota
  • Pakistani Scientist: Akul Dang
  • Soldier: Frank Fiola

Film Crew:

  • Producer: Aaron Ryder
  • Casting: Francine Maisler
  • Set Decoration: Paul Hotte
  • Costume Design: Renée April
  • Supervising Art Director: Isabelle Guay
  • Sound Mixer: Claude La Haye
  • Foley Artist: Nicolas Becker
  • Producer: Shawn Levy
  • Additional Photography: Pierre Gill
  • ADR Voice Casting: Bruce Winant
  • Co-Producer: Michael Jackman
  • Producer: David Linde
  • Thanks: Broderick Johnson
  • Thanks: Andrew A. Kosove
  • Visual Effects Coordinator: Yann Jouannic
  • Unit Production Manager: Stan Wlodkowski
  • Visual Effects Coordinator: Joanie Croteau
  • Visual Effects Producer: Thierry Delattre
  • CG Supervisor: Lafleche Dumais
  • Digital Compositors: Veronique Guay
  • Compositors: Richard Martin
  • CG Supervisor: Nicolas-Alexandre Noel
  • Head of Production: Pierre Raymond
  • Digital Compositor: Sébastien Rioux
  • VFX Supervisor: Philippe Theroux
  • Digital Compositor: Véronique Tremblay
  • Producer: Karen Lunder
  • Stunt Double: Krista Bell
  • Costume Supervisor: Mario Davignon
  • Executive Producer: Eric Heisserer
  • Production Design: Patrice Vermette
  • Sound Designer: Olivier Calvert
  • Music Producer: Jóhann Jóhannsson
  • Still Photographer: Jan Thijs
  • Director: Denis Villeneuve
  • Production Executive: Ben Browning
  • Transportation Coordinator: Philippe Montel
  • Art Department Coordinator: Martha Fernandez
  • Thanks: Valérie Beaugrand-Champagne
  • Second Unit Director: Marie-Julie Dallaire
  • Editor: Joe Walker
  • Executive Producer: Glen Basner
  • Post Production Assistant: Timothy Ferris
  • Production Assistant: Hanna Oldenburg
  • Director of Photography: Bradford Young
  • Post Production Coordinator: John Sylva
  • Musician: Hildur Guðnadóttir
  • Additional Third Assistant Director: Martin Doepner
  • Producer: Daniel S. Levine
  • Dialogue Editor: Valéry Dufort-Boucher
  • Visual Effects Supervisor: Alain Lachance
  • Animation: Marc Aubry
  • Sound Re-Recording Mixer: Luc Boudrias
  • Musician: Colin Stetson
  • Foley Editor: Luc Raymond
  • Stunt Coordinator: Marc Désourdy
  • Supervising Sound Editor: Sylvain Bellemare
  • Assistant Makeup Artist: Jennifer Dionne
  • Art Direction: Jean-Pierre Paquet
  • Makeup Artist: Morag Ross
  • Dialect Coach: Elizabeth Himelstein
  • Scientific Consultant: Phil Plait
  • Makeup Artist: Joan Patricia Parris
  • Special Effects: Marc Reichel
  • Music Editor: Clint Bennett
  • Sound Designer: Michelle Child
  • Sound Effects Editor: Alan Robert Murray
  • Digital Intermediate Colorist: Joe Gawler
  • Set Production Assistant: Alain Caporicci
  • Location Manager: Michèle St-Arnaud
  • Sound Effects Editor: Pierre-Jules Audet
  • Art Department Coordinator: Helene Lamarre
  • Additional Camera: Daniel Sauvé
  • Aerial Director of Photography: Hans Bjerno
  • Executive Visual Effects Producer: Sébastien Moreau
  • Storyboard Artist: Sam Hudecki
  • Makeup Department Head: Colleen Quinton
  • Visual Effects Supervisor: Louis Morin
  • Gaffer: Eames Gagnon
  • ADR Recordist: James A. Moore
  • Digital Compositor: Pierre-Simon Lebrun-Chaput
  • Sound Designer: Dave Whitehead
  • Pre-Visualization Supervisor: Martin Chamney
  • Art Direction: Robert Parle
  • Transportation Coordinator: Alexandre Juaneda
  • Picture Car Coordinator: Réal Hamel
  • Key Hair Stylist: Fríða Aradóttir
  • Production Executive: Troy Allen
  • Visual Effects Supervisor: Jean-François Ferland
  • Unit Publicist: Puelo Deir
  • Steadicam Operator: Frédéric Chamberland
  • Assistant Editor: Mirenda Ouellet
  • Visual Effects Supervisor: Ivan Moran
  • Key Hairdresser: Réjean Goderre
  • ADR Supervisor: Stan Sakellaropoulos
  • Key Dresser: Mariane Carter
  • Steadicam Operator: Peter Wilke
  • ADR Voice Casting: Dann Fink
  • VFX Artist: Kevin R. Browne
  • Animation: Steve Cady
  • Set Designer: Simon Guilbault
  • Foley Mixer: Niels Barletta
  • Visual Effects Producer: Catherine Nadeau
  • First Assistant Director: Donald Sparks
  • Compositing Supervisor: Vincent Poitras
  • VFX Supervisor: Mathieu Raynault
  • Visual Effects Production Assistant: Melanie Murray
  • VFX Editor: Guillaume Poulin
  • Animation: Bernd Angerer
  • Sound Effects Editor: Mathieu Beaudin
  • Modeling: Mario Fraser
  • Visual Effects Coordinator: Jean-Francois Lafleur
  • Visual Effects Producer: Sandra Germain
  • Visual Effects Supervisor: Alexandre Lafortune
  • Sound Re-Recording Mixer: Bernard Gariépy Strobl
  • First Assistant “A” Camera: Dany Racine
  • Driver: Spiro Tsovras
  • Dialogue Editor: Claire Pochon
  • Concept Artist: Deak Ferrand
  • Music Sound Design and Processing: Will Slater
  • Visual Effects Coordinator: Thibaud Galbois
  • Digital Compositor: Andris Pakalns
  • CG Supervisor: Sylvain Theroux
  • First Assistant “B” Camera: Christian Caperaa
  • Second Assistant Camera: Soupharak Keoborakoth
  • Set Decoration: André Valade
  • Scenic Artist: Serge Archambault
  • Best Boy Electric: Pierre Daudelin
  • ADR Recordist: Tyler Newhouse
  • Visual Effects Producer: Alexandra Vaillancourt
  • VFX Supervisor: Arnaud Brisebois
  • Visual Effects Producer: Louise Bertrand
  • Visual Effects Supervisor: Joseph Kasparian
  • Executive Producer: Tory Metzger
  • Scenic Artist: Stephen Craig
  • Techno Crane Operator: Alain Bisson Doyal
  • Visual Effects Coordinator: Marie-Claude Lafontaine
  • Visual Effects Producer: Josiane Fradette
  • Stunt Double: Max Laferriere
  • Makeup Artist: Sabrina Trudel
  • Animation: Caroline Labrie
  • Visual Effects Producer: Noémie Jacques
  • Short Story: Ted Chiang
  • Executive Producer: Milan Popelka
  • Makeup Artist: Marianne Bobet
  • Hairstylist: Marie-Christine Dormier
  • Assistant Hairdresser: Sandro Di Gioacchino
  • Production Manager: Hélène Ross
  • Conceptual Design: Meinert Hansen
  • Set Dresser: André Nicholas Malouf
  • Assistant Art Director: Aaron Morrison
  • Sound Design Assistant: Ilyaa Ghafouri
  • Foley Mixer: Steven Ghouti
  • Foley Mixer: Olivier Guillaume
  • ADR Mixer: Kyle D. Krajewski
  • Assistant Foley Artist: Gilles Marsalet
  • Boom Operator: Francis Péloquin
  • Foley Artist: Grégory Vincent
  • Sound Recordist: Justin Scott Wilson
  • CG Supervisor: Christopher Ahrens
  • Modeling: Félix Arsenault
  • Compositors: Andrew Barry
  • Digital Compositors: Michael Beaulac
  • Digital Compositors: Olivier Beaulieu
  • Digital Effects Supervisor: Matt Belbin
  • Visual Effects Producer: Sébastien Bergeron
  • Modeling: Miguel Berube Ouellet
  • Digital Compositors: Samuel Boisvert
  • Digital Compositors: Xavier Bourque
  • Visual Effects Producer: Meggie Cabral
  • Digital Compositors: Cynthia Rodriguez del Castillo
  • Digital Compositors: Matthieu Chatelier
  • Digital Compositors: Marie-Pier Couture-Alain
  • Digital Compositors: Dominic Dauphin
  • Modeling: Robert De La Cruz
  • Animation: Julien Dubusset
  • Compositors: Jean-Pierre Flayeux
  • Digital Compositors: Vincent Forand
  • Digital Compositor: Jessica Francoeur-Ducharme
  • Animation: Jean-Francois Gallant
  • Animation: Emmanuel Gatera
  • Digital Compositors: Mathieu Girard
  • Digital Compositors: Jose Luis Gomez
  • Digital Compositors: Olivier Gravel
  • Visual Effects: Nick Guth
  • Digital Compositors: Gael Hollard
  • Digital Compositors: Nadine Homier
  • Digital Compositor: Bryan Hsu
  • Digital Compositors: Bruno-Pierre Jobin
  • Animation: Lari Karam
  • Conceptual Design: Peter Konig
  • Digital Compositors: Heston Labbe
  • Modeling: Mathieu Lalonde
  • Digital Compositors: Maxime Lapointe
  • Digital Compositors: Xavier Larocque
  • Digital Compositors: Patrick Lemay-Hardy
  • Digital Compositors: Maxime Lemieux
  • Digital Compositors: Samuel Lepage-Bedard
  • Visual Effects Coordinator: Martine Losier
  • Compositing Supervisor: Hugo Léveillé
  • Visual Effects Coordinator: Karina Mariano
  • Digital Compositors: Belly Mingmuong
  • VFX Editor: Céline Zapater
  • Digital Compositor: Simon Beaupré
  • Digital Compositor: David Décoste
  • Digital Compositor: Yi Zhang
  • Extras Casting: Julie Breton
  • Visual Effects Coordinator: Deborah Zadzora
  • Vocals: Else Torp
  • Music Sound Design and Processing: Simon Ashdown
  • Key Rigging Grip: Jean-François Dubé
  • First Assistant Editor: Mary Lukasiewicz
  • Travel Coordinator: Victorine Tamafo
  • VFX Editor: Sasha Leigh Izadpanah
  • Producer: Dan Cohen
  • Executive Visual Effects Producer: Melanie La Rue
  • CG Supervisor: Jason Quintana
  • Visual Effects Technical Director: Ahmidou Lyazidi
  • Musician: Adam Wiltzie
  • Visual Effects Assistant Editor: Martin Fourat
  • Conductor: Anthony Weeden
  • Mixing Engineer: Paul Corley
  • Script Supervisor: Isabelle Faivre-Duboz
  • Seamstress: Viriya Say
  • Rigging Grip: Pierre-Luc L’Espérance
  • Rigging Grip: Shaun Nagorny
  • Rigging Grip: Maude Turcot
  • Rigging Grip: Christian Lalonde
  • Rigging Grip: Marieke Séguin
  • Key Grip: Keith Kerr
  • VFX Editor: Vicky Daneau
  • Makeup Artist: Gillian Chandler
  • Set Decoration: Marie-Soleil Dénommé
  • Set Designer: Jean Gagnon
  • Casting Assistant: Jordana Sapiurka
  • Production Coordinator: Kathy Ann Thomas
  • VFX Editor: Frédérique Schmidt
  • Visual Effects Producer: Amelie Poitras
  • Digital Effects Supervisor: Philippe Thibault
  • Assistant Editor: Zach Marshall
  • Visual Effects Producer: Annie Cliche
  • First Assistant Camera: Chloé Giroux-lachance
  • Lighting Technician: Henri Normand
  • Digital Imaging Technician: Leon Rivers-Moore
  • CG Artist: Stéphanie Morin
  • Production Manager: Michelle Quinn
  • Digital Compositor: Louis-Alexandre Lord
  • Digital Compositor: Anna Pacchioni
  • VFX Editor: François Poirier
  • Digital Compositor: Katy Savoie
  • Digital Compositor: Micha Sher
  • Digital Compositor: Raphael Valle
  • Digital Compositor: Jean Frédéric Veilleux
  • Visual Effects Coordinator: Nathalie Cyr
  • Dresser: Julie Chénard
  • Visual Effects Producer: Benoît Brière
  • Digital Compositor: Randy Santandrea
  • Rotoscoping Artist: Andréanne Lamoureux
  • Rotoscoping Artist: Valentin Delbroucq
  • Lighting Technician: David Villeneuve
  • Animation: Josef Sy
  • Visual Effects Producer: Daniel Booty
  • Thanks: David Kristian
  • Second Assistant Director: Brigitte Goulet
  • Technical Advisor: Cyrille Chatelain
  • Animation: Jean-François Barthélémy
  • Set Dresser: Louis Frederic Denomme
  • Scoring Mixer: Daniel Kresco
  • Production Assistant: Marc-André Massé
  • Sound Recordist: Steve Perski
  • Property Master: Lise Pharand
  • Set Dresser: Jocelyn Charbonneau
  • Visual Effects Technical Director: David Raymond
  • VFX Artist: Antonin Messier Turcotte
  • Pipeline Technical Director: Thomas Courtois
  • Pipeline Technical Director: Alan Fregtman
  • Pipeline Technical Director: Marie Fétiveau
  • Pipeline Technical Director: Matthew Gray
  • Pipeline Technical Director: Laura Kwan
  • Pipeline Technical Director: Ken Mohammed
  • Pipeline Technical Director: Jean-Christophe Morin
  • Pipeline Technical Director: Jonathan Niquet
  • Pipeline Technical Director: D.J. Rahming
  • Pipeline Technical Director: Jordi Riera
  • Pipeline Technical Director: Carine Touraille
  • Pipeline Technical Director: Adam Wierzchowski
  • Pipeline Technical Director: Stephane Wirtel
  • Pipeline Technical Director: Guillaume Laforge
  • Visual Effects Production Assistant: Ève Giordani
  • Compositor: Philippe Bienvenue
  • CG Artist: Robert Rioux
  • Legal Services: Gabriella Ludlow
  • Rotoscoping Artist: Singarajan Praveen
  • Additional First Assistant Camera: Amandine Schelle
  • Driver: Bernard Guay
  • Matte Painter: Eliott Beaudon
  • CG Artist: Etienne Laroche
  • Assistant Costume Designer: Caroline Poirier
  • Production Assistant: Jean-Francois Hall
  • Digital Compositor: Amélie Rey
  • Rotoscoping Artist: Marie-Ève Gélinas
  • Matte Painter: Frederic St-Arnaud
  • Digital Compositor: Gabriel Roy
  • Concept Artist: Martin Macrae
  • Line Producer: Martin Henri
  • Assistant Hairdresser: Marie-Christine Cormier
  • Assistant Hairdresser: Mario Huot
  • Hairdresser: Marie-Lise Taupier
  • Assistant Makeup Artist: Catherine Laniel
  • Assistant Makeup Artist: Xiao Yun Hu
  • Additional Third Assistant Director: Evelyne Renaud
  • First Assistant Director: Marie-José Bourassa
  • Second Assistant Director: Dandy Thibaudeau
  • Second Second Assistant Director: Karine P. Labelle
  • Second Unit Director: Moumita Mondal
  • Third Assistant Director: Carl Kouri
  • Third Assistant Director: Kaven MacDonald
  • Graphic Designer: Carl Lessard
  • Set Dresser: Luc Houle
  • Set Dresser: Luc-Eric Duhamel
  • Set Dresser: Marc-Andre Jalbert
  • Set Dresser: Marco Lavallée
  • Set Dresser: Sébastien Gervais
  • ADR Mixer: Louis-Antoine Lassonde
  • ADR Mixer: Maxwell Chamberlin
  • Assistant Sound Editor: Simon Girard
  • Sound Re-Recording Assistant: Gabrielle Labelle Joly
  • Sound Effects Editor: Daniel Capeille
  • Music Arranger: Owen Roberts
  • Musician: Olafur Bjorn Olafsson
  • Score Engineer: Jan Holzner
  • Vocals: Chris Watson
  • Vocals: Elenor Wiman
  • Vocals: Ellen Marie Brink Christensen
  • Vocals: Jakob Bloch Jespersen
  • Vocals: Jakob Soelberg Hammershøj
  • Vocals: Kristin Mulders
  • Vocals: Paul Bentley
  • Vocals: Signe Asmussen
  • Driver: Steve Szewczok
  • Driver: Harvey Drouelle
  • Driver: Denis Doiron
  • Driver: Michel Saule
  • Transportation Captain: Lyssa J. Caster
  • Assistant Accountant: Cathy Gurvis
  • Scientific Consultant: Erik Yelemanov
  • Scientific Consultant: Stephen Wolfram
  • Dialogue Coach: Wen Shen
  • First Assistant Accountant: Gilles Montreuil
  • Payroll Accountant: Lise Servant
  • Production Accountant: Tom Di Blasio
  • Production Accountant: Nathalie Lagacé
  • Production Assistant: Aurelie Poirier
  • Production Assistant: Caroline Thisdale
  • Production Assistant: Francois Ricard-Sheard
  • Production Assistant: Sophie Mailloux
  • Production Secretary: Alex Feldman
  • Production Secretary: Irina Cazazaeva
  • Second Assistant Accountant: Chantal Nolet
  • Stand In: Mathieu Coderre
  • Stand In: Christina Correll
  • Unit Manager: Didier Communaux
  • Stunts: Paul Viger
  • Additional First Assistant Camera: Dominic Lapointe
  • Additional First Assistant Camera: Jean-Francois Tousignant
  • Electrician: Marc Hénaut
  • Electrician: Michael Saintsbury
  • Generator Operator: Réal Saulnier
  • Grip: Claude Gervais
  • Grip: Jacynthe Labrosse
  • Second Assistant “B” Camera: Marie-Helene Tremblay
  • Video Assist Operator: Victor Ghizaru
  • Assistant Location Manager: Brigitte Renaud
  • Assistant Location Manager: Bruno Lemire
  • Dresser: Johanne Baril
  • Key Dresser: Ginette Régis
  • Animation: Camilo Guaman
  • Animation: David St-Amant
  • Animation: Adrien Annesley
  • Animation: Guillaume Boulay
  • Animation: Guillaume Pelletier
  • Animation: Jonathan Grégoire
  • Animation: Toby Winder
  • Animation: Élodie Gilbert Lachapelle
  • 3D Artist: Mathieu Goulet-Aubin
  • CG Artist: Fanny Berthiaume
  • CG Artist: Hernan Vietri
  • CG Supervisor: Guillaume Mainville
  • CG Supervisor: Jean-Sebastien Guillemette
  • Compositing Supervisor: Didier Bertrand
  • Compositing Supervisor: Nguon Vissal Ong
  • Compositor: Björn Gottwald
  • Compositor: David Monfette
  • Compositor: Michel Frenette
  • Creative Director: Louis-Martin Duval
  • Digital Compositor: Alban Kasikci
  • Digital Compositor: Anthony Luigi Santoro
  • Digital Compositor: Christopher Tuleya
  • Digital Compositor: Dominic Vincent
  • Digital Compositor: Gaël Chopin
  • Digital Compositor: Jose Luis Gomez Godinez
  • Digital Compositor: Luke Drummond
  • Digital Compositor: Lyne Lepage
  • Digital Compositor: Simon-Pierre Puech
  • Digital Compositor: Xavier Doyon
  • Digital Compositor: Mathieu Tremblay
  • Visual Effects Technical Director: Pierpaolo Navarini
  • Visual Effects Technical Director: Antonio Covelo Peleteiro
  • VFX Artist: Dominik Kirouac
  • VFX Artist: James Dong
  • VFX Artist: Owens Bazile
  • VFX Artist: Pier-Luc Verville
  • VFX Artist: Pierre Rousseau
  • Compositing Lead: Simon Devault
  • Lighting Artist: Dawid Borkiewicz
  • Lighting Artist: Frederic Schmidt
  • Lighting Artist: Veronique Levesque
  • Shading: Frédéric Gagnon
  • Shading: Gabriel Morin
  • Matte Painter: Antoine Rouleau
  • Matte Painter: Catherine Hébert
  • Matte Painter: Francois Croteau
  • Matte Painter: Sith Khay
  • Matte Painter: Eric Mc Guire
  • Matte Painter: Frederic Dupere
  • Modeling: Christopher Gonnord
  • Modeling: Jean-Olivier Esther
  • Modeling: Marc-Andre Poulin
  • Pipeline Technical Director: Julien Dubuisson
  • Pipeline Technical Director: Marc-Olivier Rouleau
  • Pipeline Technical Director: Nicholas Verschelde
  • Production Assistant: Félix Clément
  • Production Assistant: Jean-Sebastien Letourneau
  • Production Assistant: Marie-Eve St-Amour
  • Production Assistant: Mathieu Boudreau
  • VFX Artist: Josee Chapdelaine
  • Rotoscoping Artist: Louis-Philippe Clavet
  • Rotoscoping Artist: Maxime Pearson
  • Rotoscoping Artist: Alain Morin
  • Rotoscoping Artist: Maxime Desforges
  • Rotoscoping Artist: Philippe Cournoyer
  • Rotoscoping Artist: Simon Chassé
  • Rotoscoping Artist: William Perreault
  • Rotoscoping Artist: Béatrice Palin
  • Rotoscoping Artist: Dominique Richer
  • Rotoscoping Artist: Gabrielle Perreault
  • Rotoscoping Artist: Geneviève Gareau
  • Rotoscoping Artist: Jean-Michel Cristofaro
  • Rotoscoping Artist: Kevin Harding
  • Rotoscoping Artist: Marie Soleil Chabot
  • Visual Effects Coordinator: Frederic St-Jean
  • Visual Effects Coordinator: Marina Popova
  • Visual Effects Production Assistant: Karl Alexandre Lamarre-Parent
  • Visual Effects Production Assistant: Marc-André Roy
  • Visual Effects Technical Director: Dave Thomlison
  • Visual Effects Technical Director: Emmanuel Pelletier
  • Visual Effects Technical Director: Eric G. Thivierge
  • Visual Effects Technical Director: François Lord
  • Visual Effects Technical Director: Mathieu Leclaire
  • Visual Effects Technical Director: Olivier Péloquin
  • Visual Effects Technical Director: Patrick Piche
  • Visual Effects Technical Director: Sylvain Berger
  • Visual Effects Supervisor: Sylvain Lebeau
  • Second Unit Director of Photography: Yves Bélanger
  • Script Consultant: Jessica Coon

Movie Reviews:

  • Smashing UK Productions: Prior to approaching this film, a word of warning that it is what many like to call a “thinking person’s sci-fi”. If you’re going to watch this, I beg that you dedicate your utmost attention to it, as it is truly one rewarding experiences, one of the smartest, most well-constructed science fiction marvels of recent years. ‘Arrival’ is Villeneuve’s magnum opus.

    Firstly, to put your mind at ease, I won’t be analysing the plot, thus avoiding the use of spoilers. This decade, Villeneuve has crafted some fantastic works of art in the form of ‘Prisoners’, ‘Sicario’ and now this science fiction gem, and here’s hoping his career further develops with more movie masterpieces coming our way. In a world where mysteries remain and the possibility of extraterrestrial life still stands unanswered, ‘Arrival’ approaches this with it’s cliche-free take on the genre.

    The relatively unknown Bradford Young provides the film with some of the most stunning cinematography ever conceived, taking advantage of the twilight hour to give the film its somewhat unique look, supported magnificently by Icelandic composer Jóhann Jóhannsson whose score is both haunting and beautiful. If you’re someone looking for a science-fiction tale that keeps you guessing and thinking throughout, with fantastic performances, cinematography, music and near-flawless direction, then ‘Arrival’ is the film for you. The masterpiece of 2016!

  • Gimly: Denis Villenueve offers a great film, but one that is exactly what the trailer put forth, this is not a Sci-Fi War film waiting to happen, or a modern-day horror. It’s a character-driven piece about politics, life, humanity and communication.

    _Final rating:★★★½ – I strongly recommend you make the time._

  • Reno: **It was a perfect contact, but troubled at the communication.**

    The film was decent. Nowadays there are lots of altered versions coming that you won’t easily say those are the remakes or reboots or spin- offs or whatever they call them in these days. Like ‘Premotheus’ to ‘Alien’, this film can remind you a few titles from the past, but ‘Contact’ is what the majority of us believes it got inspired.

    The eight Oscars nominees for the film is insane. I know some people liked it, and the film was good, that does not mean it is an Oscar product. I’m okay with the technical side recognition as it deserved that. So visually it was very good, but not a special effects extravaganza. Just a simple sci-fi drama, with a few thrills, particularly towards the end.

    When the unexpected visitors from the outer-space land their ships in the twelve different locations on the earth, the humans patiently try to communicate with them to learn their intentions. This story focused on the American soil, where experts are brought in to decode the alien language. How the rest of tale develops was told in the remaining parts.

    To me it smells like a trilogy. If not, it should be. I enjoyed it, mainly because of being a drama. Sci-fi is always associated with action, adventure and thriller, but this drama was something fresh as per todays computer graphics dominated cinema world. This is particularly for the family and older people like the grownups. Like I said the youngsters love action and violence. So it is a one time viewable film and you will get everything in that attempt itself.

    _7/10_

  • tmdb47633491: “I have a brilliant idea for a movie so what we do is we watch scientists step-by-step learn to communicate with an alien species”

    “That’s awesome but we need an emotional component or audiences will be bored”

    “Okay the main scientist’s daughter is dead and we show clips of that every couple minutes”

    “Greenlight”

  • BadChristian: Arrival is an attempt to take a more realistic approach to how an alien visitation would play out, especially within global politics. The main thrust is that Amy Adams has to find out what the aliens want before any other country can fuck it up and they did a great job in casting Amy Adams. I’m not usually any more than indifferent of Adams, but she does a great job here with what she’s given. Jeremy Renner does as good as Jeremy Renner can do with a character that isn’t just stoic bad-ass. I like Renner, but unlike other alien films, Arrival isn’t an “alien invasion” movie where he can run around shooting stuff and making quips, so I’m not sure he was the best choice. The only other actor of note is Forrest Whitaker, who does fine, but he has this stupid accent that has no purpose. I had to watch interviews with him to make sure he wasn’t just doing an accent every other time and this was his real voice. No, he does some unnatural accent that really draws you out of the film because there is no reason for it. It’s not a foreign accent or a regional one (or at least not one that I’ve ever heard), it’s just some made up shit he does for no reason. The plot is fine for where they are trying to go with the story. Personally, there are some tropes that I really fucking hate and Arrival rides on one of the ones I hate the most. I won’t say what it is, because Arrival really should not be spoiled, but subjectively it was a stupid bullshit play and it makes things unnecessarily confusing. Arrival is about the aliens coming to Earth, but that serves more as the gasoline that fuels the very human drama that is very dialog driven and much more about Amy Adams than any of the aliens. I’m unclear about how long the movie takes place, but once they establish the motive of the movie, it feels cheap to skip a huge chunk of time and give us a montage of what happens instead of keeping the flow of progression. The movie takes place mostly in Montana and we get some beautiful scenery and the sets are all great. The cinematography has some interesting ideas and they use shots and colors to enhance the plot. not just document it. Hearing the comparisons to Interstellar, I was afraid of how arrogant, indulgent, and pretentious Arrival might be and while I understand now what they were trying to convey with the comparison, Arrival is none of those things. Arrival doesn’t pretend that it’s more than it is. There are a few story that keep my personal score from going beyond a four, but I don’t see how anyone who watches Arrival knowing what kind of movie Arrival is could give it much less. If you put on Arrival expecting Mars Attacks, Alien, Independence Day, or any other sci-fi spectacle films you are going to be disappointed, Arrival is much more of a drama. Sure, it is technically a sci-fi because aliens, but that’s not the drive of the film. If you choose to watch Arrival with the understanding that it can be slow and aggravating and has none of the flash and awe of a typical Sci-Fi, but replaces those with authentic characters and drama, don’t think you will be disappointed.
  • Matthew Brady: Well damn.

    I couldn’t stop thinking about this one and may not for awhile. “Arrival” is one of the best Sci-Fi films I’ve seen in this year. Everything about this film was just top notch that I can’t put into words without going all over.

    So let put it like this:

    Amy Adams was wonderful in this. A very grounded and real performance. Probably her best. Same thing that can said about Jeremy Renner.

    And how the aliens were part of the story was fascinating and quite clever. Without spoiling anything, they had a unique look to them. Like spiders. Although out the film, you feel their presence. A presence that’s both scary and yet remarkable.

    Denis Villeneuve is my favorite working director. He can release a movie every year and still be close of making a masterpiece. Villeneuve delivers a haunting and heartbreaking story that leaves the audience with a experience that will stay with them. A beautiful, thought-provoking, Sci-Fi film that isn’t an action or war movie. And I’m even more excited to see “Blade Runner 2049”.

    And how can I forgot the amazing score, astonishing cinematography, intelligent script, and the tearjerker ending that left me in pieces.

    I honestly can’t say anything else. Please do yourself a favor and watch it. For now, I’m dumbfounded.

  • 20thCentury: Arrival has created the most profound and seamless symbolism, notably through cinematography/imagery, that may have ever been achieved to date in film.

    On the surface, this appears to be a story about humans making contact with an alien species. For those with keen critical thinking skills, the seemingly foreign creatures at the beginning are not who we initially believed them to be by the end. This film amazingly weaves an abundance of profound images/clues in plain sight. Just like one of those optical illusions, which can at first appear a random assortment of dots. Yet, once your focus kicks in and you seize upon a detailed shape, you suddenly see an enormously complex picture that has been there the whole time, seemingly invisible just prior.

    As I watched this film, I was curious about the shape of the aliens. They do not really conform to the aesthetic of an advanced species. While I internally wrestled with the purpose of this particular shape… it finally made sense. Boom!! Mind Blown!!!!

    I’ve heard people try to reconcile the linear/non-linear information as it unfolds in real time. This is certainly rich for grasping a fuller meaning and added depth. However, imho, the epicenter of meaning in this visual masterpiece begins with the shape of the aliens.

    If you can unwrap that, you’ll become like heroic linguist Elizabeth Banks, and decipher the deeper meaning behind this profound story.

  • Penguinatic: This may be my new favourite film. I was so emotionally involved in this film, and I’d be lying if I didn’t admit a few tears were shed towards the end.
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