| Photos (See all 13 | slideshow) | Videos (see all 3) |
| Brendan Mackey | ... | Joe Simpson | |
| Nicholas Aaron | ... | Simon Yates | |
| Richard Hawking | ... | Himself | |
| Joe Simpson | ... | Himself | |
| Simon Yates | ... | Himself | |
| Ollie Ryall | ... | Richard Hawking |
Directed by | |||
| Kevin Macdonald | |||
Writing credits(in alphabetical order) | ||
| Joe Simpson | book | |
Produced by | |||
| Charles Furneaux | .... | executive producer | |
| Robin Gutch | .... | executive producer | |
| Gina Marsh | .... | line producer | |
| John Smithson | .... | producer | |
| Paul Sowerbutts | .... | associate producer | |
| Sue Summers | .... | co-producer | |
| Paul Trijbits | .... | executive producer | |
| Paul Webster | .... | chief executive procuder: FilmFour | |
Original Music by | |||
| Alex Heffes | |||
Cinematography by | |||
| Mike Eley | |||
| Keith Partridge | |||
Film Editing by | |||
| Justine Wright | |||
Casting by | |||
| Susie Figgis | |||
Production Design by | |||
| Patrick Bill | |||
Art Direction by | |||
| Patrick Bill | |||
Costume Design by | |||
| Patrick Bill | |||
Makeup Department | |||
| Sarita Allison | .... | makeup designer | |
Production Management | |||
| Emma Clarke | .... | executive in charge of production: film council | |
| Peter McAleese | .... | executive in charge of production | |
Second Unit Director or Assistant Director | |||
| Nick Laws | .... | first assistant director | |
Art Department | |||
| Giles Asbury | .... | storyboard artist | |
Sound Department | |||
| Tim Alban | .... | sound re-recording mixer | |
| Robert Brazier | .... | foley editor | |
| Felicity Cottrell | .... | foley artist | |
| Richard Davey | .... | assistant sound re-recording mixer | |
| Mick Duffield | .... | sound recordist | |
| Anthony Faust | .... | adr foley mixer | |
| Anthony Faust | .... | foley supervisor | |
| Joakim Sundström | .... | supervising sound editor | |
| Mark Kenna | .... | consultant: Dolby film sound (uncredited) | |
Special Effects by | |||
| Martin Neill | .... | special effects | |
Visual Effects by | |||
| Matthias Albrecht | .... | digital film editor | |
| Simon Burley | .... | software and technical | |
| Ben Haworth | .... | digital effects artist | |
Stunts | |||
| David Cuthbertson | .... | climbing stunt double | |
| Rory Gregory | .... | climbing stunt double | |
Camera and Electrical Department | |||
| Oliver Driscoll | .... | second assistant camera | |
| Olly Driscoll | .... | clapper loader | |
| Christian Klehr | .... | grip | |
| Ralph Kulike | .... | gaffer | |
| Dan Shoring | .... | additional photographer | |
| Dan Shoring | .... | first assistant camera | |
| Jeremy Sutton-Hibbert | .... | unit photographer: Alps | |
| Chris Thornton | .... | film recorder operator | |
| Simon Wagen | .... | additional climbing photographer (as Simon Hagen) | |
Casting Department | |||
| Indira Ashton | .... | casting assistant | |
Editorial Department | |||
| Stephen Barker | .... | post-production consultant | |
| Simon Brook | .... | on-line editor | |
| Ben Lester | .... | assistant editor | |
| Vincent Narduzzo | .... | colorist | |
| Kevin Phelan | .... | head of post-production: Lip Sync Post | |
| Jon Thompson | .... | post-production consultant | |
Music Department | |||
| Abi Leland | .... | music supervisor | |
| Andy Richards | .... | score mixer | |
| Bevan Smith | .... | composer: electronic music | |
Other crew | |||
| Olly Allen | .... | climbing support: Alps | |
| Kim Ballard | .... | production financing | |
| Christine Barnes | .... | climbing support: Alps | |
| Christine Baxter-Jones | .... | production team | |
| Hattie Bowering | .... | final delivery and release supervisor | |
| Lesley Brown | .... | production team | |
| Eduardo Shuán Caldúa | .... | climbing support: Peru | |
| Melorie Chilton | .... | legal services for darlow smithson productions | |
| Hugo Milla Chinchay | .... | climbing support: Peru | |
| David Cuthbertson | .... | key mountain guide | |
| David Cuthbertson | .... | safety team | |
| Lucy Daniels | .... | production team | |
| Regine Dura | .... | production team | |
| John Falkiner | .... | key mountain guide | |
| John Falkiner | .... | safety team | |
| Michael Fleisher | .... | business affairs: Channel 4 International | |
| Néstor Morales Flores | .... | trekking leader: Peru | |
| Laura Franses | .... | physical production coordinator: FilmFour | |
| Paul Gardner | .... | archive researcher | |
| Rory Gregory | .... | key mountain guide | |
| Rory Gregory | .... | safety team | |
| Paul Grindey | .... | business affairs: FilmFour | |
| Brian Hall | .... | head mountain guide | |
| Nion Hazell | .... | production coordinator | |
| Andrew Hildebrand | .... | business affairs: FilmFour | |
| Vince Holden | .... | head of production finance: film council | |
| Marcelino Milla Huarac | .... | climbing support: Peru | |
| Vicky Jones | .... | business affairs: Channel 4 | |
| Jim Kerr | .... | climbing support: Alps | |
| François Marsigny | .... | climbing support: Alps | |
| Deborah McLaughlan | .... | production team | |
| Jesús Montero | .... | production team | |
| Paul Moores | .... | key mountain guide | |
| Paul Moores | .... | safety team | |
| Pelayo Milla Morales | .... | climbing support: Peru | |
| Fiona Morham | .... | head of physical production: film council | |
| Eloy Salazar Obregón | .... | climbing support: Peru | |
| Rodolfo Reyes Oropeza | .... | climbing support: Peru | |
| Emma Parsons | .... | production team | |
| James Reekie | .... | production accountant | |
| Martin Rhodes | .... | unit doctor (as Dr. Martin Rhodes) | |
| Tim Rhodes | .... | climbing support: Alps | |
| Faye Richardson | .... | production team | |
| Ollie Ryall | .... | climbing support: Alps | |
| Joe Simpson | .... | additional reconstruction | |
| Joe Simpson | .... | consultant | |
| Sally Steele | .... | film publicist | |
| Gillian Strachan | .... | production team | |
| Ulla Streib | .... | head of production: Darlow Smithson Productions | |
| Juan Sánchez | .... | climbing support: Peru | |
| Gareth Tansey | .... | title designer | |
| Harry Taylor | .... | key mountain guide | |
| Harry Taylor | .... | safety team | |
| Jorge Clemente Vargas | .... | climbing support: Peru | |
| Howard Watkins | .... | title designer | |
| John Whittle | .... | key mountain guide | |
| John Whittle | .... | safety team | |
| Marc Wolff | .... | aerial coordinator | |
| Simon Yates | .... | additional reconstruction | |
| Michael J. Harker | .... | completion bond company representative (uncredited) | |
Thanks | |||
| Richard Hawking | .... | thanks | |
| Adrian Warren | .... | thanks | |
| Paul Webster | .... | thanks | |
| Marc Wolff | .... | thanks | |
| Simon Yates | .... | thanks | |
| Marc Ziegler | .... | thanks | |
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| 127 Hours | As Far As My Feet Will Carry Me | Into the Wild | The Motorcycle Diaries | The Snow Walker |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb UK section |
Awe-inspiring work by director Kevin Macdonald takes us with a minimum of fuss to a corner of the Andes in Peru for this epic tale of endurance against the elements. After what appears to be a relatively rapid, routine conquering of a 22,000 foot peak, we are left contemplating what might be in store to fill out the rest of the film. Suffice to say we are told that eighty per cent of climbing accidents occur on the descent. Harrowing times in the extreme soon present themselves, with amazing camera work accompanied by stark human emotions as life-affecting decisions have to be made in the harshest of conditions. There are only three actors in this reconstruction of an actual climb made in the 1980s. The original climbers themselves personally add to the screenplay at appropriate moments, to what I believe is just the right extent for maximum effect. We are made to wonder what drives a couple of fit 25-year-olds to climb to such heights, in such conditions, with an insufficient gas supply, no oxygen, and no backup team. But that is sometimes the reckless nature of young people that age.
The viewer is left in no uncertain mind about the might of nature versus the insignificance of human effort. This is reinforced in most spectacular fashion by the use of zoom photography, underlining the sheer size of the Andes mountains. What does make the difference, though, is the strength of the human will, particularly when it comes to a matter of very survival. In this case we are given to believe this is largely driven by the fear of dying alone, but I found myself trying to identify what other motives might have been present in such dire circumstances. Considering the semi-documentary nature of the film, and the conditions under which it was made, I cannot rate Touching the Void less than 9 out of 10. It had me on the edge of my seat until the final credits.