| Photos (see all 23 | slideshow) | Videos (see all 11) |
| Dominic Purcell | ... | Seamus | |
| Christian Bale | ... | John Preston | |
| Sean Bean | ... | Partridge | |
| Christian Kahrmann | ... | Officer in Charge | |
| John Keogh | ... | Chemist | |
| Sean Pertwee | ... | Father | |
| William Fichtner | ... | Jurgen | |
| Angus Macfadyen | ... | Dupont (as Angus MacFadyen) | |
| David Barrash | ... | Evidentiary Storage Officer | |
| Dirk Martens | ... | Gate Guard | |
| Taye Diggs | ... | Brandt | |
| Matthew Harbour | ... | Robbie Preston | |
| Maria Pia Calzone | ... | Preston's Wife | |
| Emily Siewert | ... | Lisa Preston | |
| Emily Watson | ... | Mary O'Brien | |
| Mike Smith | ... | Enforcer Commander | |
| Florian Fitz | ... | Gate Guard | |
| Danny Lee Clark | ... | Lead Sweeper (as Daniel Lee) | |
| Francesco Cabras | ... | Rebel Leader (as Francesco Calabras) | |
| Kurt Wimmer | ... | Rebel Victim | |
| Anatole Taubman | ... | Crematory Technician (as Anatole Taubmann) | |
| Brian Conley | ... | Reading Room Proprietor (as Brian Connelly) | |
| Alexa Summer | ... | Viviana Preston | |
| Brian W. Cook | ... | Dupont's Secretary (as Brian Cook) | |
| Mehmet Kurtulus | ... | Search Coordinator | |
| David Hemmings | ... | Proctor | |
| Klaus Schindler | ... | Interrogator | |
| Oliver Brandl | ... | Polygraph Technician | |
| rest of cast listed alphabetically: | |||
| Armin Marewski | ... | Security Guard (uncredited) | |
| Wolfgang Stegemann | ... | Cleric (uncredited) | |
| Dennenesch Zoudé | ... | (uncredited) | |
Directed by | |||
| Kurt Wimmer | |||
Writing credits(WGA) | ||
| Kurt Wimmer | (written by) | |
Produced by | |||
| Sue Baden-Powell | .... | co-producer | |
| Jan de Bont | .... | producer (as Jan De Bont) | |
| Lucas Foster | .... | producer | |
| Andrew Rona | .... | executive producer | |
| Ninon Tantet | .... | associate producer | |
| Bob Weinstein | .... | executive producer | |
| Harvey Weinstein | .... | executive producer | |
Original Music by | |||
| Klaus Badelt | |||
Cinematography by | |||
| Dion Beebe | |||
Film Editing by | |||
| Tom Rolf | |||
| William Yeh | |||
Casting by | |||
| Juel Bestrop | |||
| Jeanne McCarthy | |||
Production Design by | |||
| Wolf Kroeger | |||
Art Direction by | |||
| Erik Olson | (supervising art director) | ||
| Justin Warburton-Brown | |||
Set Decoration by | |||
| Anne Kuljian | |||
| Alexander Liebenthron | (uncredited) | ||
Costume Design by | |||
| Joseph A. Porro | (as Joseph Porro) | ||
Makeup Department | |||
| Tanja Drewitz | .... | makeup artist | |
| Dorit Jux | .... | hair stylist: second unit | |
| Björn Rehbein | .... | hair stylist | |
| Luigi Rocchetti | .... | makeup artist: Italy | |
| Valeska Schitthelm | .... | makeup artist: second unit | |
| Carolin Spill | .... | makeup artist | |
| Mauro Tamagnini | .... | hair stylist: Italy | |
| Hasso von Hugo | .... | key hair stylist | |
| Hasso von Hugo | .... | key makeup artist | |
Art Department | |||
| Pablo Alza | .... | on-set painter (as Pablo 'Picasso' Alza) | |
| Markus Bendler | .... | assistant property coordinator | |
| Ute Bergk | .... | assistant set decorator | |
| Mark Lambert Bristol | .... | storyboard artist (as Mark Bristol) | |
| Keith Charles | .... | supervising plasterer | |
| Michael Fechner | .... | property coordinator | |
| Antonio Fraulo | .... | stand-by props: Italy (as Tony Fraulo) | |
| Patrick Funk | .... | set dresser | |
| Carlo Gervasi | .... | set decorator: Italy | |
| Stephan O. Gessler | .... | draughtsperson (as Stephan Gessler) | |
| Mark Gleisberg | .... | stand-by props (as Mark 'Rambo' Gleisberg) | |
| Richard Gordon | .... | scenic artist | |
| Mario Grech | .... | on-set carpenter | |
| Brian Groves | .... | supervising painter | |
| Paul J. Hayes | .... | construction coordinator (as Paul Hayes) | |
| Frank Herzog | .... | set decorator production assistant | |
| Robert Hill | .... | paint department head | |
| Björn Holzhausen | .... | on-set dresser: second unit | |
| Björn Holzhausen | .... | on-set props: second unit | |
| Sarah Horton | .... | draughtsperson | |
| Margaret Hungerford | .... | buyer: U.S. | |
| Ulli Isfort | .... | buyer: Germany (as Uli Isfort) | |
| Peter King | .... | scenic artist | |
| John Kirsop | .... | construction department head | |
| Roxy Konrad | .... | art department coordinator | |
| Bruno Lamprecht | .... | set dresser | |
| Greg Lennox | .... | carpenter | |
| Michael Lindsay | .... | on-set props | |
| Jana List | .... | construction secretary | |
| Francis Livingston | .... | carpenter | |
| Ginger McCarthy | .... | rigging department head (as Steve 'Ginger' McCarthy) | |
| Caroline Meyers | .... | art department production assistant | |
| Bernadino Nardoni | .... | construction coordinator: Italy (as Dino Nardoni) | |
| Stefano Maria Ortolani | .... | production designer: Italy (as Stefano Ortolani) | |
| Giuliano Pannuti | .... | assistant production designer: Italy | |
| Robert G. Pearson | .... | carpenter (as Robert Pearson) | |
| George Richardson | .... | draughtsperson | |
| Jan Rott | .... | key set dresser | |
| Michael Schawaller | .... | laborer | |
| Alexander Stolle | .... | assistant props | |
| Rob Sutton | .... | supervising carpenter | |
| Paul Taggart | .... | plaster department head (as Paul Taggert) | |
| Steve Werblun | .... | storyboard artist (as Stephen Werblun) | |
| Greg Waddle | .... | swing gang (uncredited) | |
Special Effects by | |||
| Renato Agostini | .... | special effects foreman: Italy | |
| Karl-Heinz Bochnig | .... | special effects foreman: second unit (as Karl Heinz Bochnig) | |
| Danilo Bollettini | .... | senior special effects technician: Italy | |
| Gerd Feuchter | .... | armourer department head | |
| Rolf Hanke | .... | special effects production manager (as Rolfe Hanke) | |
| Till Hertrich | .... | senior special effects technician | |
| Torsten Knapp | .... | special effects assistant: second unit | |
| Stefan Knauer | .... | additional special effects construction | |
| Uwe Lehmann | .... | armourer assistant (as Uwe 'Püppi' Lehmann) | |
| Sylvio Lienert | .... | special effects assistant (as Silvio Lienert) | |
| Armin Moritz | .... | special effects technician | |
| Uli Nefzer | .... | special effects supervisor | |
| Daniel Olberg | .... | special effects assistant: second unit | |
| Peter Orthmaier | .... | special effects technician: second unit (as Peter Ortmaier) | |
| Franco Ragusa | .... | special effects technician: Italy | |
| Bernd Rautenberg | .... | armourer | |
| Jens Schmiedel | .... | senior special effects technician | |
| Uwe Sichtling | .... | armourer assistant | |
| Anke Teuber | .... | special effects production assistant | |
| Christoph von Lengerke | .... | senior special effects technician: second unit | |
| Roland Weder | .... | special effects technician | |
| Olaf Will | .... | special effects technician (as Olaf Wills) | |
Visual Effects by | |||
| Romulo Adriano Jr. | .... | visual effects coordinator: Pacific Title & Art Studio | |
| Jamie Baxter | .... | matte artist: 2d & 3d, Digital Firepower | |
| Bryce Brecheisen | .... | visual effects coordinator: Digital Firepower | |
| Melissa Brockman | .... | digital effects producer: R!OT | |
| Kelly Bumbarger | .... | digital compositor: R!OT (as Kelly Burnbarger) | |
| Bill Coffin | .... | lead inferno artist: Post Logic Studios | |
| Ken Dackermann | .... | digital compositor: Pacific Title & Art Studio | |
| Charles Darby | .... | digital matte artist: 2d & 3d, Digital Firepower | |
| Charles Darby | .... | digital matte supervisor: 2d & 3d, Digital Firepower | |
| Michael Degtjarewsky | .... | digital compositor: R!OT | |
| Chris Flynn | .... | digital compositor: Pacific Title & Art Studio | |
| Mark Freund | .... | digital supervisor: Pacific Title & Art Studio | |
| Joe Gareri | .... | visual effects producer: R!OT (as Joe Gerari) | |
| Rocco Gioffre | .... | senior matte painter: R!OT | |
| Brian Hanable | .... | senior inferno compositor: R!OT | |
| Max Harris | .... | inferno artist: Post Logic Studios | |
| Heather Hoyland | .... | digital compositor: Pacific Title & Art Studio | |
| Grant Janssen | .... | data manager: Post Logic Studios | |
| Ken Lam | .... | digital compositor: R!OT | |
| Kim Lavery | .... | visual effects producer: Digital Firepower | |
| Jennifer Law-Stump | .... | digital compositor: Pacific Title & Art Studio | |
| Don Lee | .... | inferno artist: Post Logic Studios | |
| Matt Linder | .... | animator: 3d, Pacific Title & Art Studio | |
| Erin May | .... | visual effects producer: Post Logic Studios | |
| Tim McGovern | .... | visual effects supervisor | |
| Scott McLain | .... | inferno artist: Post Logic Studios | |
| Mike Minkow | .... | opticals: Custom Film Effects Bipack | |
| Rodney Montague | .... | visual effects producer: Pacific Title & Art Studio | |
| Tim Norman | .... | inferno artist: Post Logic Studios | |
| Maureen O'Connor | .... | visual effects producer: Post Logic Studios | |
| Rob Ozaeta | .... | inferno artist: Post Logic Studios (as Robert Ozaeta) | |
| Patrick Phillips | .... | senior inferno compositor: R!OT | |
| Jean-Pierre Ron | .... | matte artist: 2d & 3d, Digital Firepower | |
| Adam Rote | .... | digital artist: 2d & 3d, Digital Firepower | |
| Rasha Shalaby | .... | matte painter: Pacific Title & Art Studio (as Rasha Shalaby Montague) | |
| Johanna Silverthorne | .... | digital artist: 2d & 3d, Digital Firepower | |
| David Sosalla | .... | visual effects supervisor: R!OT | |
| Lou Talamo | .... | matte artist: 2d & 3d: Digital Firepower (as Lou Talamo) | |
| Andrew Tucker | .... | tracker: 3d, Digital Firepower | |
| Mike Uguccioni | .... | compositor: Digital Firepower (as Michael Uguccioni) | |
| Kristian Coleman | .... | CG artist (uncredited) | |
| Edward Helmers | .... | digital artist (uncredited) | |
Casting Department | |||
| Annette Borgmann | .... | casting: Germany | |
| Iris Müller | .... | extras casting | |
| Lucinda Syson | .... | casting: Europe | |
Costume and Wardrobe Department | |||
| Costanza Bastanti | .... | wardrobe: Italy | |
| Jackie Cheng | .... | additional wardrobe | |
| Johanna Gartlgruber | .... | costume production assistant | |
| Nina Hess | .... | set costumer | |
| Barbara Jäger | .... | costume supervisor: Germany | |
| Najad Kirchberger | .... | wardrobe: second unit | |
| Barbara Koeppl | .... | additional wardrobe (as Barbara Köppe) | |
| Mirjam Muschel | .... | additional wardrobe (as Miriam Meuschel) | |
| Kara Owens | .... | additional wardrobe | |
| Jean Rosone | .... | costume supervisor | |
| Alex Rothe | .... | wardrobe: second unit | |
| Alex Rother | .... | costume production assistant | |
| Swenja Selphmann | .... | additional wardrobe | |
| Maurizio Torti | .... | assistant costume designer: Italy | |
| Lisa Wong | .... | key costumer | |
| Antje Schulze Zur Wiesche | .... | tailor | |
Editorial Department | |||
| Brian Addie | .... | apprentice editor (as Brian G. Addie) | |
| Timothy Alverson | .... | assistant editor: Lightworks | |
| Brian Day | .... | assistant editor | |
| Michael Hatzer | .... | color timer | |
| Simone Hofmann | .... | assistant editor | |
| Douglas Kunin | .... | first assistant editor | |
Music Department | |||
| Klaus Badelt | .... | score producer | |
| Ramin Djawadi | .... | composer: additional music | |
| Vicki Hiatt | .... | music editor | |
| Stephanie Lowry | .... | music editor | |
| Richie Nieto | .... | music editor | |
| Joe Rangel | .... | music coordinator | |
| Randy Spendlove | .... | executive in charge of music | |
| Geoff Zanelli | .... | composer: additional music | |
Transportation Department | |||
| Gabriella Di Santo | .... | transportation captain: Italy | |
| Ilias Grigoriou | .... | driver | |
| Susen Jarmuske | .... | driver | |
| Joerg Kraft | .... | trailer coordinator (as Jörg Kraft) | |
| Sebastian Leister | .... | assistant picture car coordinator | |
| Alexander Liebenthron | .... | driver: set department | |
| Paul Mason | .... | driver | |
| Daniel Mattig | .... | transportation coordinator | |
| Norbert Mentrop | .... | driver | |
| Joe Müller-Koepke | .... | driver | |
| Sebastian Neitsch | .... | car captain | |
| Fabian Pöhlmann | .... | driver | |
| Martin Prestes | .... | driver | |
| Stephan Schröter | .... | picture car coordinator | |
| Jüren Simson | .... | driver | |
Thanks | |||
| Linda A. Borgeson | .... | special thanks (as Linda Borgeson) | |
| Wolfgang Branoner | .... | special thanks: City of Berlin (as Senator Branoner) | |
| Brian Burkin | .... | special thanks | |
| Bettina Hagemann | .... | special thanks: Messe Berlin (as Mrs. Hagemann) | |
| Ralf Kleinhenz | .... | special thanks: Messe Berlin (as Dr. Kleinhenz) | |
| Michael E. Marshall | .... | special thanks | |
| Dieter Pasierbsky | .... | special thanks: Messe Berlin (as Mr. Pasierbsky) | |
| Dr. Reupke | .... | special thanks: City of Berlin | |
| Mr. Stachelscheid | .... | special thanks: City of Berlin | |
| Ignaz Walther | .... | special thanks: Walther Bau AG (as Mr. Walther) | |
| Mrs. Ignaz Walther | .... | special thanks: City of Berlin (as Mrs. Walther) | |
| Andrea Wertheim | .... | special thanks | |
| Hans-Wolf Zopfy | .... | special thanks: Walther Bau AG (as Mr. Zopfy) | |
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Set in a future, post-World War III society where emotions have been outlawed, Equilibrium tells the story of John Preston (Christian Bale), a government agent who begins to have doubts about the policy he is enforcing.
Equilibrium is the perfect example why I do not rate lower for derivativeness or unoriginality. The film is basically high-concept combination of Fahrenheit 451 (1966), George Orwell's novel Nineteen Eighty-Four (original published in 1949, film versions appeared in 1954, 1956 and 1984), The Matrix (1999) and a bit of The Wizard of Oz (1939) thrown in for good measure. What matters is not how original the ideas are (assuming it's not a case of plagiarism), as whether something is original or not is an epistemological problem that tells us more about our own familiarity with other material rather than the precedent status of the artwork we're questioning, but how well the material is handled. The high-concept material in Equilibrium is handled brilliantly.
On its surface, after a brief action-oriented beginning, Equilibrium is basically a progression from a fairly complex sci-fi film (meaning simply that it takes a lot of exposition to get up to speed) to a thriller to a "gun fu"-styled actioner. The progression is carried out deftly by writer/director Kurt Wimmer (who unfortunately hasn't shown the same level of elegant panache in other films I've seen from him, including Sphere (1998) and The Recruit (2003)), with all of the genres somewhat present throughout the film. Wimmer is so austerely slick here that Equilibrium sometimes resembles a postmodernist automobile commercial. The transition from genre to genre is incredibly smooth.
The most impressive material on this surface level is the gun fu action stuff, which almost "out-Matrixes" The Matrix in style, if not volume. Preston is so skilled to be an almost invincible opponent. His solitary misstep as a fighter occurs once he gives himself over to emotion. This is nicely related to the common advice from kung fu senseis that emotion lessens one's effectiveness in combat.
Of course a big part of Equilibrium is the set of philosophical points it has to make about emotion. There are sections of the film that are appropriately dialogue-heavy, and Wimmer is more than conspicuous with this (one of two) primary theme(s). Just as important as dialogue for Wimmer's commentary on man's emotions are body language and behavior. Some viewers might see it as a flaw that characters frequently show what they consider to be signs of emotions in their comments or behavior, but that's part of Wimmer's agenda. Because it's difficult to even say just what counts as an emotion, and emotions are so wrapped-up with being sentient beings, it would be difficult if not impossible to fully eliminate them, and it's certainly not recommendable. The cast does an excellent job of portraying characters who are supposed to be mostly emotionless but with cracks in the stoic armor continually poking through.
Wimmer has a harsh view of our society's self-medication epidemic--even the title of the film seems to be a stab at the common claim that drugs like Prozac and Xanax are taken to help one "smooth out", or "equalize", extremes of mood, or extreme dispositions. The Equilibrium government extends this agenda into the tangible material realm as they also attempt to "smooth out" mood swings by eliminating any cultural artifacts that might promote varied moods/emotions. Wimmer seems to see it as a not-too-exaggerated extension of the modus operandi behind Prozac-like drugs.
The other primary theme is one of institutional control. Wimmer has a lot to say about unquestioningly following authorities, and he's careful to show that it's not just governmental authorities that can be a problem. He does this by tightly wrapping religious allegory with his depiction of Equilibrium's government. The leader is known as "Father", and the government secret service members are "clerics". Those outside of this control are shown as authentic, free, individualistic and happy despite the hardships involved with their embrace of forbidden thought/items.
More subtly, Wimmer employs the now overused washed out blue-gray cinematography of late 1990s/early 2000s genre films towards an unusual end. It's not just a stylistic device here, but represents a particular kind of reality. Under the purview of the fascistic government, blue-gray predominates. When glimpses of freedom/authenticity enter the film, the blue-gray look is gone, replaced with strongly saturated warm colors, and occasionally a more nostalgic subdued tone. This is one of the film's similarities to The Wizard of Oz, although maybe not the most significant one.
If you're someone who cherishes originality for its own sake, you might not like Equilibrium as much, but you have much more serious epistemological problems to sort out. Otherwise, this is a film worth watching and thinking about.