Popularity: 4 (history)
Director: | Steve McQueen |
---|---|
Writer: | Bianca Stigter |
Staring: |
The past collides with the present in this excavation of the Nazi occupation of Amsterdam: a journey from World War II to recent years of pandemic and protest and a provocative, life-affirming reflection on memory, time and what's to come. | |
Release Date: | Nov 30, 2023 |
---|---|
Director: | Steve McQueen |
Writer: | Bianca Stigter |
Genres: | Documentary |
Keywords | based on novel or book |
Production Companies | VPRO, Regency Enterprises, Film4 Productions, Family Affair Films, A24, Lammas Park |
Box Office |
Revenue: $0
Budget: $0 |
Updates |
Updated: Feb 03, 2025 Entered: Apr 20, 2024 |
Name | Character |
---|---|
Melanie Hyams | Self - Narrator (voice) |
Carice van Houten | Narrator (2024 version) |
Name | Job |
---|---|
Steve McQueen | Director |
Bianca Stigter | Writer, Book |
Oliver Coates | Original Music Composer |
Peter Bernaers | Colorist |
Xander Nijsten | Editor |
Jos ten Klooster | Sound Recordist |
Julien Naudin | Foley Artist |
Aukje Bink | Camera Trainee |
Seretse Fulani | Second Assistant Camera |
Jan Schermer | Sound Designer, Sound Re-Recording Mixer |
Deen van Liempd | First Assistant Camera |
Koen van der Knaap | First Assistant Director |
Laura Bell | Music Supervisor |
Lennert Hillege | Director of Photography |
Patrick Ghislain | Foley Mixer |
Maria Kramer | Sound Editor |
Max van den Oever | Supervising Sound Editor |
Maxime Brun | Second Assistant Camera |
Melissa Martens | Second Assistant Camera |
Danny van Deventer | First Assistant Camera |
Sophie van Caenegem | Line Producer |
Neeltje van der Heijden | Post Production Supervisor |
Eloi du Cinema | Camera Trainee |
Nico van den Brink | Vocals |
Name | Title |
---|---|
Steve McQueen | Producer |
Arnon Milchan | Executive Producer |
Clea de Koning | Executive Producer |
Michael Schaefer | Executive Producer |
Adriana Banta | Executive Producer |
Daniel Battsek | Executive Producer |
Barbara Truyen | Executive Producer |
Susan Dolan | Associate Producer |
Floor Onrust | Producer |
Yariv Milchan | Executive Producer |
Emily Osborne | Executive Producer |
Ben Coren | Executive Producer |
Joost Janmaat | Executive Producer |
Natalie Lehmann | Associate Producer |
Anna Smith Tenser | Producer |
Ben Cotner | Executive Producer |
Ollie Madden | Executive Producer |
Bianca Stigter | Producer |
Noortje Wilschut | Associate Producer |
Organization | Category | Person |
---|
Popularity History
Year | Month | Avg | Max | Min |
---|---|---|---|---|
2024 | 4 | 7 | 15 | 2 |
2024 | 5 | 10 | 20 | 4 |
2024 | 6 | 7 | 30 | 2 |
2024 | 7 | 8 | 16 | 3 |
2024 | 8 | 5 | 10 | 2 |
2024 | 9 | 7 | 12 | 4 |
2024 | 10 | 7 | 13 | 4 |
2024 | 11 | 5 | 10 | 1 |
2024 | 12 | 7 | 14 | 1 |
2025 | 1 | 4 | 7 | 2 |
2025 | 2 | 2 | 4 | 1 |
2025 | 3 | 2 | 5 | 1 |
2025 | 4 | 1 | 2 | 1 |
2025 | 5 | 1 | 2 | 1 |
2025 | 6 | 1 | 2 | 1 |
2025 | 7 | 1 | 4 | 0 |
2025 | 8 | 1 | 2 | 0 |
2025 | 9 | 3 | 4 | 1 |
2025 | 10 | 3 | 4 | 3 |
Trending Position
EXT. IT BELONGS IN A MUSEUM - DAY Occupied City is redefining the 'Documentary' genre. This film is a series of stories passed onto Steve McQueen, now passing them onto us. It narrates those stories whilst giving us a glimpse into the current affairs in Amsterdam. This pure juxtaposition shows ho ... w far we have come yet how quickly we can turn back. The reason I've titled this review "It's Belongs in A Museum" is not because I have a ticket for the new Indiana Jones film here at Cannes (but it has little to do with that). This film isn't something to watch during a visit to the cinema; it should be on display somewhere, a four-and-a-half-hour loop of each moment, story, fact and stunning cinematography that this film has to offer. Suppose I explain why I'm so optimistic about this film yet only giving it 3.5 stars. In that case, it's because, as a film, anything more than 4 hours without a narrative flow is a complicated watch. Still, as I said, this belongs in a museum or an art gallery on display for you to sit and watch for a moment; when you're ready, you can leave but come back anytime. Yet I was in a cinema for more than 4 hours. This film would still be compelling at 2 hours long, yet McQueen leaves nothing on the cutting room floor. There were moments in which I wanted it to be over, but then another story or particular shot would drag me back in. But within this film, there is a tighter, more cohesive narrative where the simpler/less impactful stories are excluded. But it seems that McQueen wanted a leg in the race for the longest film of the Decade award. Overall, if you can watch this film, maybe not in cinemas but divide it up over four nights, giving you enough time to take in each story this film presents. FADE OUT. Added Shout out: Thanks, Mr McQueen, for giving us an intermission; long, long films need to start having these baked in.