Based on true events about the foot soldiers of the early feminist movement who were forced underground to evade the State.
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Credits: TheMovieDb.

Film Cast:

• Maud Watts: Carey Mulligan
• Edith Ellyn: Helena Bonham Carter
• Arthur Steed: Brendan Gleeson
• Violet Cambridge: Anne-Marie Duff
• Emmeline Pankhurst: Meryl Streep
• Sonny Watts: Ben Whishaw
• Alice Haughton: Romola Garai
• Benedict Haughton: Samuel West
• Norman Taylor: Geoff Bell
• Emily Davison: Natalie Press
• David Lloyd George: Adrian Schiller
• Miss Withers: Amanda Lawrence
• George Watts: Adam Michael Dodd
• Maggie Miller: Grace Stottor
• Mrs Coleman: Lorraine Stanley
• Detective Malcolm Walsop: Morgan Watkins
• Hugh Ellyn: Finbar Lynch
• Government Minister: Nick Hendrix
• Miss Samson: Shelley Longworth
• Mrs Garston: Sarah Finigan
• Male Laundry Worker: Drew Edwards
• Mr Cummins: Adam Nagaitis
• Police Constable: Lee Nicholas Harris
• Female Prison Guard: Joyce Henderson
• Landlady: Susie Baxter

Film Crew:

• Executive Producer: Tessa Ross
• Executive Producer: James Schamus
• Original Music Composer: Alexandre Desplat
• Casting: Fiona Weir
• Executive Producer: Cameron McCracken
• Hairstylist: J. Roy Helland
• Producer: Alison Owen
• Production Design: Alice Normington
• Set Decoration: Barbara Herman-Skelding
• Costume Design: Jane Petrie
• Editor: Barney Pilling
• Producer: Faye Ward
• Director: Sarah Gavron
• Writer: Abi Morgan
• Director of Photography: Eduard Grau
• Special Effects Supervisor: Mark Holt
• First Assistant Editor: Stephen Perkins
• Executive Producer: Teresa Moneo
• Executive Producer: Rose Garnett
• Co-Producer: Andy Stebbing
• Set Costumer: Jake Collier
• Gaffer: James Plannette
• Casting Associate: Alice Searby
• Second Unit Cinematographer: Pau Esteve Birba
• Hair Designer: Carol Hemming
• Sound Re-Recording Mixer: Paul Cotterell
• Foley: Barnaby Smyth
• Supervising Sound Editor: Andy Shelley
• Camera Operator: Casper Leaver
• Supervising Sound Editor: Stephen Griffiths
• Visual Effects Producer: Tim Caplan
• Visual Effects Producer: Adam Gascoyne
• Script Supervisor: Helene Oosthuizen
• Digital Intermediate: Rob Farris
• Visual Effects Supervisor: Simon Hughes
• Executive Producer: Nik Bower
• Digital Intermediate: Patrick Malone
• Sound Effects Editor: Bernard O’Reilly
• Makeup Designer: Sian Grigg
• Camera Operator: Marc Gómez del Moral
• Hairstylist: Tapio Salmi
• Hairstylist: Charlotte Rogers
• Assistant Costume Designer: Holly Smart
• Art Direction: Choi Ho Man
• Art Direction: Jonathan Houlding
• Music Supervisor: Karen Elliott
• Visual Effects Coordinator: Ines Li
• Visual Effects Coordinator: Finola O’Brien
• Digital Intermediate: Gemma McKeon
• Costume Supervisor: Beth Gillman
• Researcher: Jo Farrugia
• Camera Operator: Gris Jordana
• Still Photographer: Steffan Hill
• Gaffer: Andy Lowe
• First Assistant Camera: Sam Barnes
• First Assistant Camera: Phill Hardy
• First Assistant Camera: Jake Marcuson
• First Assistant Camera: Chaz Lyon
• ADR & Dubbing: Kallis Shamaris
• Art Department Assistant: Emily Connell
• Assistant Art Director: Alice Sutton
• Co-Producer: Hannah Farrell

Movie Reviews:

• Reno: > A revolution that fought within a nation, within a race, within a family.

  Biographical movies are always fascinating. If it is not something worthy, the movie would have not taken up the shape. It was a very good movie, and a very important historical subject. It has been 100 years since and now the world we live-in is much different and better. I think after thousands of years, now the women got their freedom.

  I thought I knew this story very well, but it was ‘Made in Dagenham’ which is quite similar to this which is also based on the real. Both the stories take place 50 years apart, but this one was the beginning of a new era for women, not without sacrifices and sufferings.

  Great actors, great actings, awesome storytelling, cinematography at its best, direction was amazing and the music was so pleasant, but the method of dealing was a bit gruesome, and sometimes brutal. I thought the terrorism is a new word, but this movie gives a different perspective and meaning to that.

  You would definitely love this film if you respect women. All women cast movie, including the director, but for everyone. It might have begun in the UK, but the entire planet saw a drastic change and still taking place in some places. I don’t see any reason why I should not recommend it to you.

  8/10

• John Chard: Deeds, not words.

  It’s a telling point in history, that of the Suffragettes, the militant women’s organisations in the early 20th century who, under the banner “Votes for Women”, fought for the right to vote in public elections. So case in point that any filmic treatments are greatly anticipated – and wanted of course, so here we have Sarah Gavron’s film that is written by Abi Morgan and starring Carey Mulligan, Helena Bonham Carter, Brendan Gleeson, Anne-Marie Duff, Ben Whishaw and in cameo Meryl Streep.

  Right off the bat it should be noted on two crucial points, one is that this is merely a story strand involving a group of Suffragette women, this is not all encompassing, something which is emphasised by the fact that Suffragette leader Emeline Pankhurst is only cameoed here by Streep. Secondly it has to be said that this is a condensed narrative for story telling emotional gain in favour of the Suffragettes, their more serious activities for attention are very much played down. So with that in mind anyone interested in the subject are urged to seek out literary sources for story as facts.

  Filthy Panks!

  The gripping story here dramatizes events that builds to the death of Emily Davison at the 1913 Derby. We are privy to the harsh realities of the life of women in this era (period detail superb), the employment pay structures, the treatment at the hands of the authorities, and the home lives that could result in losing ones child on account of poverty. It’s potent stuff and ensures that we at least understand the need for change and fully support the women in their ultimate goal, the arguments put forward viable and just.

  Thankfully the makers are not on a one way mission to portray all men as monsters, there’s a nice balance between good and bad. The implications of the women’s long road to reckoning is given thought, the social distortion possibility hanging in the air alongside economic murkiness. So although the narrative often gets heavy handed in striving for dramatic impact, the point is well and truly made and begs all to delve further into a cause that ultimately needed winning.

  Small in scale as regards the Suffrage Movement as a whole, but important as an historical pointer and acted with professional assuredness by the cast, this achieves its goals regardless of condensement gripes. 7/10