| Birgit Doll | ... | Anna | |
| Dieter Berner | ... | Georg | |
| Leni Tanzer | ... | Eva | |
| Udo Samel | ... | Alexander | |
| Silvia Fenz | ... | Costumer at the optician's | |
| Robert Dietl | |||
| Elisabeth Rath | ... | Lehrerin | |
| Georges Kern | |||
| Georg Friedrich | ... | Störungsdienst der Post | |
| rest of cast listed alphabetically: | |||
| Meat Loaf | ... | Himself (archive footage) (uncredited) | |
| Jennifer Rush | ... | Herself (archive footage) (uncredited) | |
Directed by | |||
| Michael Haneke | |||
Writing credits(in alphabetical order) | ||
| Michael Haneke | writer | |
| Johanna Teicht | script | |
Produced by | |||
| Veit Heiduschka | .... | producer | |
Original Music by | |||
| Alban Berg | |||
Cinematography by | |||
| Anton Peschke | |||
Film Editing by | |||
| Marie Homolkova | |||
Production Design by | |||
| Rudolf Czettel | |||
Art Direction by | |||
| Rudolf Czettel | |||
Costume Design by | |||
| Anna Georgiades | |||
Makeup Department | |||
| Ernst Dummer | .... | makeup artist | |
Production Management | |||
| Mario Manessinger | .... | production manager | |
| Gebhard Zupan | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Hanus Polak Jr. | .... | assistant director | |
Art Department | |||
| Rudolf Hummel | .... | property master | |
| Hans Wagner | .... | property master | |
Sound Department | |||
| Herbert Giesser | .... | sound mixer | |
| Eduard Hofmann | .... | sound assistant | |
| Willi Kluth | .... | sound effects | |
| Karl Schlifelner | .... | sound | |
Camera and Electrical Department | |||
| Gabriela Brandenstein | .... | still photographer | |
| Martin Hack | .... | gaffer | |
| Susanne Hönlinger | .... | clapper loader | |
| Gisela Ortner | .... | second camera unit | |
| Günther Sommer | .... | gaffer | |
| Gerhard Stüttler | .... | clapper loader | |
| Peter Uhlig | .... | assistant camera | |
| Wolfgang Vince | .... | gaffer | |
| Erich Wimberger | .... | lighting technician | |
Costume and Wardrobe Department | |||
| Roswitha Eppensteiner | .... | wardrobe | |
Editorial Department | |||
| Ema Balada | .... | assistant editor | |
Other crew | |||
| Gabriele Hartner | .... | production office | |
| Michael Katz | .... | manager | |
| Gebhard Zupan | .... | production management | |
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| The Kite Runner | Mysterious Skin | Notes on a Scandal | Bee Season | River's Edge |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Austria section | Add this title to MyMovies |
Having spent a couple years now browsing thru IMDb, this is the first film I've seen that actually motivated me to leave a comment. I've seen 3 other (more recent) movies by Haneke: "Funny Games," "Code Unknown," and "The Piano Teacher." All of them disturbed me in their own special way--a feeling that I obviously don't mind getting from a film. "The 7th Continent," though, really blew me away in ways that I find difficult but necessary to describe.
This was Haneke's first theatrical film & apparently based on a true story--although I'm always skeptical of such disclaimers (the same was said about "Picnic at Hanging Rock," another great creepy film). It's divided into 3 parts: 1987, 1988, and 1989. Many scenes repeat themselves, and we get a clear sense that the family (dad, mom, daughter) is going through the motions of modern life. The banalities have a bizarre and uneasy edge to them, though, that really piles up by the time Part 3 arrives. All I have to say about the last 40 minutes is: OH MY GOD! I thought Gaspar Noe's "I Can't Sleep" (?) had an excruciating buildup, but that one (with all its explicitness) can't hold a candle to the amount of emotional and physical devastation packed into the conclusion of "Continent."
Fans of Haneke's later work should definitely check this one out to see the origin of his trademarks: no music score, seemingly pointless scenes that linger (often with little or no dialogue), off-putting camera angles (we sometimes see only the actors' hands or feet). While these techniques aren't always successful in his films ("Code" had some interminable moments), they all come together seamlessly in "Continent." A superb work!