11'09''01 - September 11 (2002)

Directors:

Youssef Chahine
Amos Gitai
(more)

Writers:

Youssef Chahine (segment)
Sabrina Dhawan (segment)
(more)

Release Date:

11 September 2002 (Belgium)

Genre:

Drama

Tagline:

11 directors, 11 stories, 1 film.

Plot:

The effects of the 9/11 terrorist attacks are told from different points of view around the world.

Plot Keywords:

Terrorist | Split Screen | Terrorist Group | 2000s | Airplane

Awards:

3 wins & 1 nomination

Cast

Maryam Karimi	...	(segment "Iran")
Emmanuelle Laborit	...	(segment "France")
Jérôme Horry	...	(segment "France")
Nour El-Sherif	...	(segment "Egypt")
Ahmed Haroun	...	(segment "Egypt")
Dzana Pinjo	...	(segment "Bosnia-Herzegovina")
Aleksandar Seksan	...	(segment "Bosnia-Herzegovina")
Tatjana Sojic	...	(segment "Bosnia-Herzegovina")
Lionel Zizréel Guire	...	(segment "Burkina-Faso")
René Aimé Bassinga	...	(segment "Burkina-Faso")
Lionel Gaël Folikoue	...	(segment "Burkina-Faso")
Rodrigue André Idani	...	(segment "Burkina-Faso")
Alex Martial Traoré	...	(segment "Burkina-Faso")
Vladimir Vega	...	(segment "United Kingdom")
Keren Mor	...	(segment "Israel")
Liron Levo	...	(segment "Israel")
Tomer Russo	...	(segment "Israel")
Tanvi Azmi	...	Talat Hamdani (segment "India")
Kapil Bawa	...	(segment "India")
Taleb Adlah	...	(segment "India")
Ernest Borgnine	...	(segment "USA")
Tomorowo Taguchi	...	(segment "Japan")
Kumiko Asô	...	(segment "Japan")
Akira Emoto	...	(segment "Japan")
Mitsuko Baisho	...	(segment "Japan")
Tetsurô Tanba	...	(segment "Japan")
Ken Ogata	...	(segment "Japan")
rest of cast listed alphabetically:
Salvador Allende	...	(segment "United Kingdom") (archive footage)
Jake Bern	...	Radio DJ Personality (Segment Mexico)
George W. Bush	...	Himself (segment "United Kingdom") (archive footage)
Henry Kissinger	...	(segment "United Kingdom") (archive footage)
Nell Mooney	...	Sylvia Franko
Augusto Pinochet	...	(segment "United Kingdom") (archive footage)
George R. Sheffey	...	FBI Agent (India)
Anil Baral	...	Student on Subway (Salman look alike) (uncredited)

Directed by
Youssef Chahine		(segment "Egypt")
Amos Gitai		(segment "Israel") (as Amos Gitaï)
Alejandro González Iñárritu		(segment "Mexico")
Shohei Imamura		(segment "Japan")
Claude Lelouch		(segment "France")
Ken Loach		(segment "United Kingdom")
Samira Makhmalbaf		(segment "God, Construction and Destruction")
Mira Nair		(segment "India")
Idrissa Ouedraogo		(segment "Burkina Faso")
Sean Penn		(segment "USA")
Danis Tanovic		(segment "Bosnia-Herzegovina")

Writing credits (in alphabetical order)
Youssef Chahine		segment Egypt
Sabrina Dhawan		segment India
Amos Gitai		segment Israel
Alejandro González Iñárritu		segment "Mexico"
Paul Laverty		segment United Kingdom
Claude Lelouch		segment France
Ken Loach		segment United Kingdom
Samira Makhmalbaf		segment Iran
Idrissa Ouedraogo		segment Burkina-Faso
Sean Penn		segment "USA"
Marie-Jose Sanselme		segment Israel
Danis Tanovic		segment Bosnia-Herzegovina
Daisuke Tengan		segment Japan
Pierre Uytterhoeven		segment France
Vladimir Vega		segment United Kingdom

Produced by
Alain Brigand	....	associate producer
Nicolas Cand	....	executive producer (segment: Burkina Faso)
Lydia Dean Pilcher	....	executive producer (segment: India)
Jean de Trégomain	....	executive producer
Catherine Dussart	....	executive producer (segment: Japan)
Emily Gardiner	....	associate producer: India
Alejandro González Iñárritu	....	producer (segment "Mexico")
Alexandre Hallier	....	associate producer
Gabriel Khoury	....	executive producer (segment: Egypt)
Marianne Khoury	....	executive producer (segment: Egypt)
Cédomir Kolar	....	executive producer (segment: Bosnia-Herzegovina)
Sandro Mancy	....	associate producer
Nicolas Mauvernay	....	producer
Rebecca O'Brien	....	executive producer
Jacques Perrin	....	producer
Jon C. Scheide	....	executive producer (segment "USA")
Laurent Thibierge	....	associate producer
Laurent Truchot	....	executive producer (segment: Israel)
Tania Zazulinsky	....	executive producer (segment: France)

Original Music by
Michael Brook		(segment "USA")
Mohammad Reza Darvishi		(segment "Iran")
Manu Dibango		(segment "Burkina-Faso")
Osvaldo Golijov		(segment "Mexico")
Tarô Iwashiro		(segment "Japan")
Salif Keita		(segment "Burkina-Faso")
Heitor Pereira		(segment "USA")
Gustavo Santaolalla		(segment "Mexico")
Vladimir Vega		(segment "United Kingdom")

Cinematography by
Samuel Bayer		(segment "USA")
Luc Drion		(segment "Burkina-Faso")
Ebrahim Ghafori		(segment "Iran")
Pierre-William Glenn		(segment "France")
Yoav Kosh		(segment "Israel")
Jorge Müller Silva		(segment "United Kingdom")
Mustafa Mustafic		(segment "Bosnia-Herzegovina")
Mohsen Nasr		(segment "Egypt")
Masakazu Oka		(segment "Japan")
Declan Quinn		(segment "India")
Nigel Willoughby		(segment "United Kingdom")

Film Editing by
Rashida Abdel Salam		(segment "Egypt")
Kim Bica		(segment "Mexico")"
Jay Cassidy		(segment "USA")") (as Jay Lash Cassidy)
Robert Duffy		(segment "Mexico")"
Sherif Ezzat
Alejandro González Iñárritu		(segment "Mexico")
Julia Gregory		(segment "Burkina-Faso")")
Allyson C. Johnson		(segment "India")
Mohsen Makhmalbaf		(segment "Iran")"
Stéphane Mazalaigue		(segment "France")
Jonathan Morris		(segment "United Kingdom")
Kobi Netanel		(segment "Israel")
Hajime Okayasu		(segment "Japan")"
Monique Rysselinck		(segment "Bosnia-Herzegovina")

Casting by
Jennifer Euston		(segment "India")
Ilan Moscovitch

Production Design by
Stephanie Carroll		(segment "India")
Wendy Samuels		(segment "USA")

Art Direction by
Alain Brigand

Makeup Department
Robin Mathews	....	makeup artist (segment "USA")
Evelyne Noraz	....	key makeup artist

Production Management
Cathy Gesualdo	....	production manager
Jenny Schweitzer	....	production manager (segment "India")

Second Unit Director or Assistant Director
Aida Begic	....	assistant director
Dominique Combe	....	first assistant director
Emad El Bahat	....	assistant director
Thomas Fatone	....	first assistant director
Patrick Gibbons	....	second assistant director
Vania Peirani-Vignes	....	second assistant director
Brian Wray	....	second second assistant director

Art Department
Mychael Bates	....	property master
Tonya Brewer Hunt	....	set dresser
Kevin Ladson	....	property master
Hélène Maroutian	....	props buyer

Sound Department
Alen Alisah	....	boom operator
Dirk Bombey	....	sound recordist
Kevin Brazier	....	sound
Nicolas Cantin	....	sound editor
Pascal Chauvin	....	foley artist (segments "France" and "Egypt")
Alex Claude	....	sound designer (Segment "Israel")
Gary Coppola	....	sound re-recording mixer
Mathieu Cox	....	foley recordist
Roger Dobson	....	sound
François Fayard	....	sound editor
Alejandro González Iñárritu	....	sound designer (segment "Mexico")
Alek Goosse	....	sound re-recording mixer
Dominique Hennequin	....	sound
Martín Hernández	....	sound supervisor (segment "Mexico")
Dave Humphries	....	sound re-recording mixer
Dave Humphries	....	sound
Jonathan Liebling	....	foley artist
Jean-Charles Martel	....	sound
Harald Maury	....	sound designer (segment "France")
Michael Minkler	....	sound
Hamid Naghibi	....	sound designer (segment "Iran")
Myron Nettinga	....	sound re-recording mixer
Rudy Pi	....	sound re-recording mixer
Mary Ellen Porto	....	supervising sound editor
Martin Sadoux	....	sound
Daniel Sobrino	....	sound
Masashi Tara	....	sound
Eric Tisserand	....	sound
Thomas Varga	....	sound
Christophe Vingtrinier	....	sound mixer
Amos Zipori	....	sound mixer

Visual Effects by
Greg Baxter	....	visual effects coordinator (segment "Mexico")
Mark Casey	....	visual effects supervisor: dead flowers, Sean Penn
Christophe Courgeau	....	main titles designer
Fabien Girodot	....	visual effects
Gretchen Libby	....	visual effects producer
Sal Migliore	....	assistant colorist
Hugues Namur	....	visual effects
Steven Schmidt	....	visual effects production assistant (segment "Mexico")
Mandy Tankenson	....	visual effects producer: Mexico

Camera and Electrical Department
Ales Belak	....	Steadicam operator
Glenn Davis	....	best boy electric (segment "India")
David Frak-Lauer	....	focus puller
Michel Galtier	....	assistant camera
Gregory F. Johnson	....	best boy
Alexandre Léglise	....	second assistant camera
Samira Makhmalbaf	....	camera operator (segment Iran)

Editorial Department
Jill Bogdanowicz	....	digital intermediate colorist (segment "USA")
Nicolas Criqui	....	digital conformation
Laura Jans	....	colorist-USA
David A. Smith	....	assistant editor

Music Department
Alexandre Desplat	....	composer: title music
Robin Lynn	....	music consultant
Dusko Segvic	....	music arranger
Dusko Segvic	....	music producer

Other crew
Naomi Bombardi-Wilson	....	production assistant (segment "India")
Alain Brigand	....	credit concept creator
Rachel Corlet-Soulier	....	script supervisor
Guy Courtecuisse	....	post-production manager
Shuna Frood	....	production coordinator
Lisa Inman	....	script supervisor
Nora Killoran	....	assistant production coordinator
Diana Lui	....	production coordinator: segment "USA"
Chris Marsh	....	location manager (segment "India")
Nidzara Mehic	....	script supervisor
Leigh Pickford	....	production assistant
Payal Sethi	....	assistant: Mira Nair
Carey Ann Strelecki	....	researcher
Mark Swenson	....	production assistant
Kim Thompson	....	production assistant
Daniel Tresca	....	assistant location manager
Corinne Golden Weber	....	production coordinator (segment: "Mexico")
Robyn Aronstam	....	script supervisor (segment "India") (uncredited)

Thanks
Patricio Guzmán	....	thanks (UK segment)

Production Companies

• CIH Shorts
• Catherine Dussart Productions (CDP)
• Comme des Cinémas
• Galatée Films
• Imamura Productions
• La Générale de Production
• Les Films 13
• Les Films de la Plaine
• MISR International Films
• Makhmalbaf Productions
• Sequence 19 Productions
• Sixteen Films
• Studio Canal
• Zeta Film

Distributors

• Bac Films (2002) (France) (theatrical)
• Alfa Films (2003) (Argentina) (theatrical)
• BIM Distribuzione (2002) (Italy) (theatrical)
• Bir Film (2003) (Turkey) (theatrical)
• Frenetic Films (2002) (Switzerland) (theatrical)
• Movienet (2002) (Germany) (theatrical)
• Paradiso Entertainment (2002) (Netherlands) (theatrical)
• Tohokushinsha Film (2003) (Japan) (theatrical)
• Atrix Films (2002) (Germany) (all media)
• Empire Pictures Inc. (2003) (USA) (all media)
• Europa Filmes (2003) (Brazil) (all media)
• Paradiso Home Entertainment (2003) (Netherlands) (DVD) (VHS)
• Scanbox Entertainment (2006) (Finland) (DVD)

Also Known As:

11 septembre 2001 (Iran: Persian title)
11'09''01 - September 11 (France)
11'09''01: Onze minutes, neuf secondes, un cadre (France)
Eleven Minutes, Nine Seconds, One Image: September 11 (International: English title)
September 11 (USA)
11 Сентября (Russia) [ru]
11 de Setembro (Brazil) [pt]
11 de septiembre (Colombia) [es]
11 eylül (Turkey: Turkish title) [tr]
11 settembre 2001 (Italy) [it]
11'09''01 - 11 de septiembre (Spain) [es]
11-09-01: El día que cambió el mundo (Argentina) [es]
Syyskuun 11. päivä (Finland) (TV title) [fi]

Runtime:

134 min

Country:

UK | France | Egypt | Japan | Mexico | USA | Iran

Language:

Spanish | English | French | Arabic | Hebrew | Persian | French Sign Language | Japanese

Color:

Black and White | Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Finland:K-11 | Argentina:Atp | Australia:M | Hong Kong:IIA | Singapore:NC-16 | Spain:T | Sweden:11 | UK:12A (original rating) | UK:12 (video rating) (2003) | USA:Unrated

Company:

CIH Shorts

Trivia:

In Mira Nair's segment, a clip of Monsoon Wedding (2001), Nair's previous film, is shown on television.

Movie Connections:

Referenced in Volviendo (2007)

Welcome to Planet Earth

I couldn't help but watch this film from the perspective as an objective alien viewing a 2-hour feature about Earthlings. To judge this film by its individual merits or failures is like trying to understand the people of this planet by isolating them geographically and culturally. When I see how little so many reviewers here at IMDb don't get that, it is no small wonder to me why we as a species can't get along.

Each eleven-minute film here offers us a hint of what we are as a species. We see how children thousands of miles away have no greater concept of American culture than American children (as well as adults) have of theirs. That's a dangerous thing, especially when it is evident that the reflexive acquiescence of God's will is summoned so easily in order to explain ignorance away. The events of 9.11 scale down personal tragedies, such as deafness and failed relationships, while giving legitimate perspective of true human suffering, such as those who have been caught in the cycle of violence in Bosnia and Chile. Personal bitterness, such as a soft-news TV journalist being beaten out of a hard-news story, clashes with poverty-stricken children who shrug off an opportunity for overwhelming fortune and immeasurable fame when they realize that they can at least secure the cost of education and medicine for the near future. What happens when one tries to keep score of human suffering? The futility of that question is answered profoundly in a segment revolving around an American soldier and Palestinian terrorist - or an American terrorist and Palestinian soldier, or two soldiers or two terrorists, all depending on which flag you happen to be waving. It all sums up to countless numbers of ghosts and grieving mothers. And the cacophony of all that gets summed up in a segment featuring voices of every human emotion on 9.11, along with visions that defy any conventional understanding of terror. It isn't the numbers that stagger us, but one lonesome figure flinging himself into certain death. The question is: if we can relate so strongly to that figure, why is it so difficult for us to relate to the dying mother in Burkina Faso, or the torture victim from Chile, or the leg-less man in Bosnia, or the Muslim-American woman whose son is condemned as guilty until proven innocent, or the lonely old man who we usually tend to look away from on the street? Why are so few Americans only able to see the terrorist attacks on 9.11 as an American tragedy and not as an extension of human tragedy that is continuously being recycled? Until people of all nations can share in each other's suffering, we will always be doomed.

The film '9.11' is capped off with a segment which one can accept as an allegory that man's need for righteous indignation and violence is as much a part of his nature as killing is for a snake. The snake gets the last word in though, that there is no such thing as a holy war. Snake smarter than man, eh? I can't say that any of these individual films were great. Some, like that last segment was too clever for its own good, and some made me wish that the filmmaker made better use of his or her eleven minutes. But taken in whole, it is an astoundingly effective experience. I've always wished that a project covering short films from all over the world could be shot in one day- illustrating us in all of our similarities and differences. Using 9.11 as a starting off point is ingenious, since our personal and political tragedies are what brings us together when we're at our best, and what keeps us apart when we are at our worst. To fault this film for any artistic shortcomings is fair ground, but to fault it for its personal and political leanings is to add insult to injury. This film is a wake-up call to see the pain that is all around us and to respond with something other than finger-pointing and jingoistic pride. It's shown us the past and the present and given us the opportunity to reflect on a more promising future, if we so chose.