Alle Anderen (2009)

Director:

Maren Ade

Writer:

Maren Ade (writer)

Release Date:

18 June 2009 (Germany)

Genre:

Drama | Romance

Plot:

While on a Mediterranean vacation, a seemingly happy boyfriend and girlfriend find their connection to one another tested as they bond with another couple. |

Plot Keywords:

Couple | Vacation | Kissing | Reference To Hans Christian Andersen | Hugging

Awards:

5 wins & 8 nominations

Cast

Birgit Minichmayr	...	Gitti
Lars Eidinger	...	Chris
Hans-Jochen Wagner	...	Hans
Nicole Marischka	...	Sana
Mira Partecke	...	Urlauberin
Atef Vogel	...	Urlauber
Paula Hartmann	...	Rebecca
Carina N. Wiese	...	Schwester von Chris
Laura Zedda	...	Baby
Claudio Melis	...	Mann im Auto

Directed by
Maren Ade

Writing credits (in alphabetical order)
Maren Ade		writer

Produced by
Maren Ade	....	producer
Jonas Dornbach	....	line producer
Dirk G. Engelhardt	....	producer (as Dirk Engelhardt)
Ulrich Herrmann	....	associate producer
Janine Jackowski	....	producer
Ben von Dobeneck	....	assistant producer

Cinematography by
Bernhard Keller

Film Editing by
Heike Parplies

Casting by
Nina Haun

Production Design by
Silke Fischer
Volko Kamensky

Costume Design by
Gitti Fuchs

Makeup Department
Bettina Colmsee	....	assistant makeup artist
Monika Münnich	....	makeup artist

Production Management
Elisabetta Pilia	....	production manager: Sardinia
Christian Richter	....	unit manager

Second Unit Director or Assistant Director
Petra Misovic	....	first assistant director

Art Department
Friederike Berthold	....	stand-by props
Graziella Tomasi	....	assistant production designer

Sound Department
Florian Beck	....	sound re-recording mixer
Oliver Göbel	....	boom operator
Daniel Iribarren	....	sound designer
Jörg Kidrowski	....	sound
Tobias Peper	....	dialogue editor
Matthias Schwab	....	sound re-recording mixer
Sebastian Tesch	....	foley editor
Roman Volkholz	....	foley editor
Daniel Weis	....	foley recordist

Stunts
Rainer Werner	....	stunt coordinator

Camera and Electrical Department
Stefan Förster	....	electrician
Matthias Ganghofer	....	first assistant camera
Jörg Gönner	....	first assistant camera
Jan Linnartz	....	video playback operator
Mario Minichmayr	....	electrician
Henry Notroff	....	gaffer
Alexander von Wasielewski	....	second assistant camera

Casting Department
Geraldine Voss	....	casting assistant

Costume and Wardrobe Department
Angie Pokorni	....	assistant costume designer

Editorial Department
Andrea Hanke	....	commissioning editor: WDR
Georg Steinert	....	commissioning editor: arte
Bernhard Wiesner	....	assistant editor

Other crew
Boris Dillen	....	production accountant
Jürgen Glomb	....	assistant production accountant
Monika Helmer	....	production accountant
Desiree Pflüger	....	set manager
Julika Zobel	....	production assistant: Berlin

Thanks
Margot Ade	....	thanks from the director
Diana Falk	....	thanks
Manfred Held	....	thanks (as Prof. Manfred Held)
Stefan Kriekhaus	....	thanks
Tina Lupo	....	thanks
Eva Löbau	....	thanks
Monika Reichel	....	thanks
Valentino Sanna	....	thanks
Anita Schneider	....	thanks
Mathilde Villeneuve	....	thanks

Production Companies

• Komplizen Film (presents)
• Südwestrundfunk (SWR) (in co-production with) (as SWR)
• Westdeutscher Rundfunk (WDR) (in co-production with) (as WDR)
• ARTE (in co-production with)

Distributors

• Cinema Guild, The (2010) (USA) (theatrical) (subtitled)
• Nettai Museum (2011) (Japan) (theatrical)
• Prokino Filmverleih (2009) (Germany) (theatrical)
• Why Not Productions (2010) (France) (theatrical)
• Accent Film Entertainment (2010) (Australia) (DVD)
• Atalanta Films International (2009) (Serbia) (all media)
• Clap - Produção de Filmes (2010) (Portugal) (all media)
• MegaCom Film (MCF) (2009) (Bosnia and Herzegovina) (all media)
• Russian Report (2009) (Russia) (all media) (CIS)
• Transeuropa Video Entertainment (TVE) (2010) (Argentina) (DVD)

Other Companies

• BKM  funding
• Deutsche Filmförderfonds (DFFF)  funding
• Die BASISberlin Postproduktions  sound post-production
• FFF Bayern  funding
• FGV Schmidle GmbH  cameras and equipment
• Filmförderungsanstalt (FFA)  funding
• Kuratorium Junger Deutscher Film  funding
• Medienboard Berlin-Brandenburg  funding
• Shotz Picture Vehicles  picture vehicle: hero car

Also Known As:

"Everyone Else" - Europe (English title) (festival title), International (English title)
"Alle andre" - Denmark
"Du och jag" - Sweden
"Entre nosotros" - Spain
"Everyone Else" - Argentina (festival title)
"Mások vagyunk" - Hungary (imdb display title)
"Oloi oi alloi" - Greece (festival title)
"Todos os Outros" - Portugal (imdb display title)
"Wszyscy inni" - Poland (imdb display title)

Runtime:

Argentina:119 min (Buenos Aires Festival Internacional de Cine Independiente) | Germany:119 min (Berlin International Film Festival) | USA:119 min

Country:

Germany

Language:

German | Italian

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Argentina:13 | Germany:12 (f) | Singapore:R21 | Australia:MA (2010) | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | Portugal:M/16 | Sweden:Btl

Filming Locations:

Sardinia, Italy

Company:

Komplizen Film

Quotes:

Chris:Hans is such a "coincidental" guy. He coincidentally comes by when something coincidentally happens, and he coincidentally meets someone who introduces him, like with Documenta, when he was called by accident.

complex though occasionally inexplicable look at a relationship

Similar in style and tone to last year's "Blue Valentine," the German film "Everyone Else" provides us with an oblique look at a troubled relationship. Though the couple in this film does not seem as overtly unhappy as the one in the American work, there is still something clearly eating away at their relationship. The most admirable aspect of the screenplay by Maren Ade is that it doesn't throw easy labels onto either the characters or the problems they're facing. The movie is really more a piece of objective reportage chronicling their lives over the course of a few days than a plot- and theme-driven narrative leading us to a preordained conclusion about them as people.

Chris (Lars Eidinger) is a gifted but apparently not very successful architect, while Gitti (Birgit Minichmayr), his girlfriend, who works in the recording business, seems to be generally supportive of his efforts. Chris and Gitti are spending a relaxing vacation at his mother's home on the Mediterranean, when Gitti begins to off-handedly question Chris's masculinity (we assume that it has more to do with his lack of initiative and drive than with his personal mannerisms). In response, Chris begins to treat Gitti in an ever more callous fashion, trying to prove her wrong by acting in the dismissive and domineering way he assumes "real" men do, and in the way, if Gitta is any indication, women apparently want them to.

But this synopsis really only covers the tip of the iceberg, for there are clearly many more complex dynamics taking place within this relationship that are not so easily delineated and described. Suffice it to say that the movie explores the myriad elements that go into relationships, and does so without spelling them out in simplistic terms and without passing judgment on the characters. The parameters within which any relationship must be set are still evolving and fluid in the case of Chris and Gitti, and this leads to much pushing of the boundaries and behavioral experimentation on the part of the couple throughout the course of the film. Ade's direction is unobtrusive and observational in nature, which allows the actors to interact with one another in a quasi-improvisational and thus wholly believable fashion.

There is, however, a definite downside to this type of storytelling – "Blue Valentine" suffered from it as well – and that is that the motivations for the characters' actions are often so murky and inexplicable that they can seem downright arbitrary to those of us who are watching all of this unfold from the outside in. That's why Chris and Gitti strike us as being more weird and annoying – if not downright daffy - than anything else at times.

Thus, your initial response might be to assume that perhaps Chris and Gitti simply aren't meant for one another and that they might think about looking elsewhere for a relationship. But, then again, if it were that easy to get out of a troubled relationship, we'd have no need in the first place for films like "Everyone Else."