Dunkirk

The story of the miraculous evacuation of Allied soldiers from Belgium, Britain, Canada and France, who were cut off and surrounded by the German army from the beaches and harbour of Dunkirk between May 26th and June 4th 1940 during World War II.
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Credits: TheMovieDb.

Film Cast:

  • Tommy: Fionn Whitehead
  • Farrier: Tom Hardy
  • Mr. Dawson: Mark Rylance
  • Commander Bolton: Kenneth Branagh
  • Shivering Soldier: Cillian Murphy
  • George: Barry Keoghan
  • Alex: Harry Styles
  • Gibson: Aneurin Barnard
  • French Soldier: Damien Bonnard
  • Grenadier: Lee Armstrong
  • Irate Soldier: James Bloor
  • Peter: Tom Glynn-Carney
  • Collins: Jack Lowden
  • Warrant Officer: Luke Thompson
  • French Soldier 2: Michel Biel
  • French Soldier 3: Constantin Balsan
  • Petty Officer: Billy Howle
  • Soldier: Mikey Collins
  • Stretcher Bearer: Callum Blake
  • Soldier at the Gap: Dean Ridge
  • Able Seaman: Bobby Lockwood
  • Second Lieutenant: Will Attenborough
  • Lieutenant: Tom Nolan
  • Colonel Winnant: James D’Arcy
  • Rear Admiral: Matthew Marsh
  • Sub-Lieutenant: Adam Long
  • Nurse: Miranda Nolan
  • Sailor: Bradley Hall
  • Lifeboat Soldier 1: Jack Cutmore-Scott
  • Lifeboat Soldier 2: Brett Lorenzini
  • Engineer: Michael Fox
  • Highlander 1: Brian Vernel
  • Highlander 2: Elliott Tittensor
  • Highlander 3: Kevin Guthrie
  • Private: Harry Richardson
  • Dutch Seaman: Jochum ten Haaf
  • Junior Naval Officer: Johnny Gibbon
  • Heinkel Spotter: Richard Sanderson
  • Stewardess: Kim Hartman
  • Deal Sailor: Calam Lynch
  • Corporal: Charley Palmer Rothwell
  • Furious Soldier: Tom Gill
  • Blind Man: John Nolan
  • Lone Private: Bill Milner
  • Soldier on RN Launch: Jack Riddiford
  • Boy: Harry Collett
  • Man at Railway Window: Eric Richard
  • Voice on Radio: Michael Caine
  • Captain Marshall (uncredited): Johnny Otto

Film Crew:

  • Original Music Composer: Hans Zimmer
  • Writer: Christopher Nolan
  • Producer: Emma Thomas
  • Casting: John Papsidera
  • Editor: Lee Smith
  • Line Producer: John Bernard
  • Costume Design: Jeffrey Kurland
  • Supervising Art Director: Kevin Ishioka
  • Production Design: Nathan Crowley
  • Production Manager: Christine Raspillère
  • Makeup Supervisor: Nicola Buck
  • Stunts: Cedric Proust
  • Executive Producer: Jake Myers
  • Special Effects Supervisor: Paul Corbould
  • Executive Producer: Greg Silverman
  • Foley: Scott Curtis
  • Stunts: Clay Cullen
  • Set Decorating Coordinator: Gary Fettis
  • Location Scout: Brian M. O’Neill
  • ADR Editor: David Bach
  • Director of Photography: Hoyte van Hoytema
  • Unit Production Manager: David Witz
  • Foley: Shelley Roden
  • First Assistant Editor: Laura Rindner
  • Makeup Artist: Allan A. Apone
  • Makeup Artist: Bernard Floch
  • Line Producer: Erwin Godschalk
  • Sound Re-Recording Mixer: Gary Rizzo
  • Stunts: Zack Duhame
  • ADR Voice Casting: Barbara Harris
  • Boom Operator: Dominic Happé
  • Production Coordinator: Karen Ramirez
  • Assistant Editor: William Fletcher
  • Special Effects Supervisor: Charles-Axel Vollard
  • Supervising Art Director: Eggert Ketilsson
  • Casting: Toby Whale
  • Dialogue Editor: Hugo Weng
  • Visual Effects Producer: Mike Chambers
  • Stunts: Matt Leonard
  • Stunts: Reid Harper
  • Visual Effects Editor: Daniel Arkin
  • Stunts: David Schultz
  • Location Manager: Benjamin Hendriks
  • Stunts: Mark Norby
  • Sound Design Assistant: Peter Albrechtsen
  • Boom Operator: Tom Caton
  • Makeup Department Head: Luisa Abel
  • Still Photographer: Melinda Sue Gordon
  • Costume Supervisor: John Casey
  • First Assistant Camera: Stephen Wong
  • Sound Recordist: Eilam Hoffman
  • Supervising Sound Editor: Richard King
  • Sound Re-Recording Mixer: Gregg Landaker
  • Special Effects Coordinator: Scott R. Fisher
  • Location Manager: Ben Piltz
  • Script Supervisor: Steve Gehrke
  • Visual Effects Editor: Derrick Mitchell
  • Sound Effects Editor: Michael W. Mitchell
  • Location Manager: Arnaud Kaiser
  • Construction Coordinator: Joe Ondrejko
  • Aerial Coordinator: Craig Hosking
  • Gaffer: Helmut Prein
  • Art Direction: Oliver Goodier
  • Stunts: Mathew Kaye
  • Location Manager: Douglas Dresser
  • Aerial Director of Photography: Hans Bjerno
  • Visual Effects Supervisor: Tim McGovern
  • Supervising Music Editor: Alex Gibson
  • Visual Effects Producer: Matthew Plummer
  • Gaffer: Jean-François Drigeard
  • Steadicam Operator: Henry Tirl
  • Production Coordinator: Samuel Sharpe
  • Key Makeup Artist: Jay Wejebe
  • ADR Editor: Russell Farmarco
  • Art Direction: Toby Britton
  • Hair Department Head: Patricia DeHaney
  • Visual Effects Editor: Steve Miller
  • Visual Effects Supervisor: Andrew Lockley
  • First Assistant Editor: Eric A. Lewy
  • Music Editor: Ryan Rubin
  • Art Direction: Benjamin Nowicki
  • Makeup Supervisor: Jessica Brooks
  • Color Designer: Pete Polyakov
  • Production Coordinator: Catherine A. McCabe
  • Visual Effects Coordinator: Seda Yilmaz
  • Stunts: Bryan Thompson
  • Third Assistant Director: Alina Gatti
  • Second Assistant Director: Eric Richard Lasko
  • Construction Coordinator: Guy Belegaud
  • Key Hair Stylist: Cheryl Daniels
  • Makeup Artist: Pascale Bouquière
  • Production Manager: Nicky Tüske
  • Location Manager: Patrick Noordzij
  • Special Effects Coordinator: Ben Vokes
  • Production Supervisor: Daniel-Konrad Cooper
  • Makeup Artist: Kimberly Felix
  • Sound Re-Recording Mixer: Unsun Song
  • First Assistant Camera: Bob Hall
  • Stunts: Mark Fichera
  • Stunt Coordinator: Tom Struthers
  • Stunts: Shane Geraghty
  • Sound Mixer: Mark Weingarten
  • Camera Intern: Doug Lavender
  • Executive In Charge Of Production: Mark Scoon
  • First Assistant Director: Nilo Otero
  • Associate Editor: John Lee
  • Makeup Effects Designer: David LeRoy Anderson
  • Costume Design: Cesha Ventre
  • Scoring Mixer: Alan Meyerson
  • Camera Operator: Hugues Espinasse
  • Set Decoration: Emmanuel Delis
  • Unit Manager: Paul Tomlinson
  • Key Makeup Artist: Odile Fourquin
  • Assistant Costume Designer: Sara O’Donnell
  • Set Costumer: Aurélie Dolbeau
  • Set Costumer: Emmanuelle Pastre
  • Gaffer: R. Adam Chambers
  • Visual Effects Supervisor: Andrew Jackson
  • Special Effects Coordinator: Marie Korf
  • Foley Editor: Michael Dressel
  • Assistant Production Manager: David Edouard
  • Location Manager: Thijs Bolle
  • Special Effects Supervisor: Daniel Llewelyn-Williams
  • Sound Effects Editor: Randy Torres
  • Assistant Director: Sean Singery
  • Digital Intermediate: Kostas Theodosiou
  • Orchestrator: Carl Rydlund
  • Aerial Coordinator: Luc Poullain
  • ADR Voice Casting: Louis Elman
  • Visual Effects Editor: Sivaprayag
  • Musician: Steve Mair
  • Grip: John Curran
  • Stunts: Kye Mckee
  • Stunts: Tim Neff
  • Grip: Hugh McCallum
  • Underwater Camera: Mike Gerzevitz
  • Stunts: Kevin Derrick
  • Production Office Assistant: Robert Guerrero
  • Stunts: Jeffrey G. Barnett
  • Associate Producer: Andy Thompso
  • Art Direction: Erik Osusky
  • Set Decoration: Samir Moundy
  • Assistant Production Coordinator: Kristin Vela
  • Production Accountant: Luke Tuck
  • Production Coordinator: Géraldine Sérafini
  • Post Production Supervisor: Christian max Straub
  • Production Coordinator: Jonathan Scott
  • Production Office Assistant: Sarah Ruemelin
  • Production Accountant: Natalie Moore
  • Set Production Assistant: Manjari Makijany
  • Production Office Assistant: Hennie Loosman
  • Assistant Production Coordinator: Gary Kett
  • Production Accountant: Olivier Kaczmarek
  • Production Office Assistant: Oliver Hatcher
  • Production Accountant: Valérie Farthouat
  • Production Office Assistant: Austin Elliott
  • Driver: Tim McGaughy
  • Driver: Hendrik De Jonker
  • Score Engineer: Derrick Werlé
  • Additional Music: Andrew Kawczynski
  • Scoring Mixer: John W. Chapman
  • Location Manager: Raquel Wijngaarde
  • Location Manager: Ronan Michel
  • Assistant Editor: Scott Wesley Ross
  • Post Production Consulting: Hannah Haidar
  • Post Production Assistant: Gladys Garcia
  • Post Production Assistant: Katherine Chou
  • Key Costumer: Billy Prichard
  • Key Costumer: Olivier Ligen
  • Key Costumer: Krista Guggia
  • Animation Director: Thomas Phillips-Howard
  • Key Grip: Ryan Monro
  • Grip: Julien Moine
  • Craft Service: Martin Elvin
  • Grip: Jesse Beaird
  • First Assistant Camera: Boris Abaza
  • Stunts: Mark van Swieten
  • Stunts: Steven Sawicki
  • Stunts: Dalton Rondell
  • Stunts: Travis Quist
  • Stunts: Sean Morrissey
  • Stunts: John Medalin
  • Stunt Coordinator: Stephanie Louie
  • Stunts: Mathieu Lardot
  • Stunts: Marie Fink
  • Stunts: Wayne Docksey
  • Stunts: Tom Boney
  • Assistant Production Manager: Bastien Larue
  • Production Supervisor: Page Rosenberg-Marvin
  • First Assistant Director: Willem Quarles van Ufford
  • First Assistant Director: William Pruss
  • First Assistant Director: Clément Comet
  • Second Assistant Director: Alexis Chelli
  • Third Assistant Director: Amaury Capel
  • Second Assistant Director: Nicolas Baldino
  • Makeup Artist: Charley Collier
  • Hairstylist: Laura Pollock
  • Makeup Artist: Melanie Queyrel Carreno
  • Makeup Artist: Fabie Roger
  • Makeup Artist: Elodie Taquet
  • Sound Editor: Michael John Fuller
  • Special Effects: Warwick Boole
  • Drone Operator: Joe McBride
  • Special Effects: Charlie Pedersen
  • Visual Effects: Ben Cowell-Thomas
  • Visual Effects Supervisor: Emma Rider
  • Visual Effects Supervisor: Matt Thompson
  • Sound Effects: Eric Potter
  • Stunts: Rick Miller

Movie Reviews:

  • Simon Foster: “Surely the filmmaker’s insistence upon imposing his favourite device upon all his narratives is edging towards Shyamalan-like overkill…”

    Read the full review here: http://screen-space.squarespace.com/reviews/2017/7/22/dunkirk.html

  • CourtneyM17: I was a little disappointed with this movie. I expected much more. Cinematically it was brilliant and it was an event/action driven movie when left me feeling a little disconnected. We don’t know anything about these characters that we see and I personally didn’t feel any emotions for the movie, even though I wanted to. I found myself quite bored halfway through the movie, the whole time I kept expecting more.
  • Pierre_D: Tense film draws you to a doomed group.

    Those how are veteran war historians will quibble at some parts of Dunkirk, notably the separation of English and French troops in evacuation and the ships used to evacuate them. Dunkirk uses a few conceits to keep you involved. The first, which adds a notable amount of tension to the film, is a ticking clock in the background moving you to the final day. We see intercut scenes from different periods, prior, during and enacting the rout.

    Acting is excellent throughout, and versimilitude is achieved with models of aircraft, uniforms, landing stages and so on. Injections of friendship and subsequent loss direct our affection to the sufferers. Harry Styles is more than competent as a young troop and Kenneth Branagh brings integrity and verve to his role as a tired and firm leader. If one oversight might have been addressed, it is the lack of focus on the German side of things in this affair. Our few glimpses are of German fighters and so on, with very explanation of the goings-on at the front.

    Overall an excellent war movie meant to be among your top ten, if not top five (It will be hard to dislodge All Quiet on the Western Front, Apocalypse Now, Paths of Glory, Saving Private Ryan and Tora Tora Tora!, among others). Recommend highly a good 8/10.

  • defjeff: Dunkirk is a beautiful and unconventional World War 2 epic that is undoubtedly captivating, but it takes risks that may alienate some viewers.

    When people talk about a film they think it’s about the setting, but it’s actually about the characters. Saving Private Ryan isn’t about World War 2. It tells a story about a squad of soldiers tasked with finding a young Private Ryan and getting him back safely to his family. Saying Dunkirk is a film about the Battle of Dunkirk however, is not inaccurate. The setting and characters are one. The choppy waters of the English Channel are equally as important, if not more so than the people who fought and died in them. As much as this makes for an interesting way to make a mainstream war film, it’s also the reason why I wouldn’t care to sit through it again. In some ways, it feels like watching a documentary with the narration turned off.

    I walked away impressed, and at the same time emotionally and intellectually unfulfilled.

  • Gimly: _Dunkirk_ was my best mate’s favourite film of 2017. I find it difficult to understand exactly what drew him to this film so strongly. I find it difficult to say anything passionate about _Dunkirk_ at all. I think I arguably felt some tension in the earlier moments, and some of the shots were beautiful… I think? I honestly can’t remember. _Dunkirk_ washed over me in the least impactful way possible, and then, like the tide, it was gone.

    _Final rating:★★ – Had some things that appeal to me, but a poor finished product._

  • dezmozegreato: I want to start by saying I’m tired of seeing the big names in every movie I see, I think at times big name actors can take away from a movie more than benefit. Dunkirk did a great job of allowing us to focus less on the actors and more on the story. I feel this movie put me in the story and allowed to experience first hand some of the lives that were impacted.

    There wasn’t a lot of character building in this movie, but that’s what I loved, I feel like I was allowed to more so build on the experience over one person’s story. Since we’re not typically used to a movie being experience based over character based, I think some may find this as a flaw. I did not. There were multiple stories and perspectives, all which immerse you into the current situation.

    Christopher Nolan did a great job of creating an overwhelming feeling of hopelessness throughout the movie, I felt like I could never feel safe and constantly looked for a way out. I was on the edge of my seat for the majority of the movie.

    **Dunkirk was a great roller coaster ride that allowed a view one may otherwise never experience.**

  • dshacky90: Okay first off, who came up with the idea “Let’s all cast guys who look exactly the same”? With all the jumping around in the story I could not tell who was where and what was going on half the time. I see what he was trying to do on the cinematic side but it made it difficult as the viewer to fully follow it all the way.

    Production value was amazing and some of the scenes were absolutely stunning! Tom Hardy just flying over the coast was amazing. But Tom Hardy could not save this movie. I didn’t know who was running where or if this person had died yet and the lack of dialogue was no help at all.

    Wouldn’t watch it again

  • Per Gunnar Jonsson: I have put off viewing this film for quite a while. The main reason for this is that I am somewhat reluctant watching a movie where the story is pretty well known before you sit down to watch it. However a few days ago I finally did and, given all the hype, I have to say that I expected more, a lot more.

    Sure the movie is a cinematically very well down movie. Acting, camera and all that is excellent. Unfortunately that is all there is.

    First of all, where the hell did the over-inflated budget go? Dunkirk was a major undertaking with almost 400 000 soldiers involved and hundreds and hundreds of boats. We get to see what? A few columns of soldiers, a handful of boats and three pitiful spitfires against a bomber and two Fock Wulfes. To add to this insult we pretty much get to see the same bloody event over and over from different angles. This is an insult to all the brave men that made this rescue possible.

    There are a few likable people in the movie. Like the Navy commander and the elderly guy on the pleasure boat steaming to rescue. The rest are either psychotic or morons.

    Realism? Not so much. Like the scene where a bunch of soldiers are trapped in a boat being shot to pieces. Would any one in their right mind really have thought they could plug dozens and dozens of holes with their hands and then sail across the channel?

    Then we have the spitfire which runs out of fuel and glides around forever over the beach so the director can get some scenic shots done. Other times fairly large boats gets damaged and flips over in seconds.

    I would also have expected some pre-story. Some build up. But no, the story starts right away with these measly handful of boats and planes taking for bloody ever to drag themselves over to where they are supposed to go.

    Quite a disappointment indeed.

  • r96sk: Very good.

    ‘Dunkirk’, as you’d expect given the director, is extremely well made. I particularly enjoyed how the film is shot, the sound editing and the score. It’s a watchable story about an event from World War II.

    I wouldn’t, personally, say there’s a standout cast performer. I don’t mean that negatively, it’s just more a film about a group of people rather than individuals – which I assume was the intention. There are still good performances, from the likes of Tom Glynn-Carney and Jack Lowden. It also features star names, including Tom Hardy, Cillian Murphy and Mark Rylance.

    The music and how the sequences are crafted is what elevates this film up, while the pacing is almost spot on – they could easily have made this 2hr 15mins+, like most war films seem to do, but keeping it at around 1hr 47mins was a smart choice. I do still feel like it could’ve been greater, yet I still got entertainment from it.

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