| Fotos (ver todos los 18 | slideshow) |
| Charles Berling | ... | Narrator - Penguin Father (voice: French version) | |
| Romane Bohringer | ... | Narrator - Penguin Mother (voice: French version) | |
| Jules Sitruk | ... | Narrator - Penguin Baby (voice: French version) | |
| listado alfabético del resto del reparto: | |||
| Amitabh Bachchan | ... | Narrator (voice) | |
| Gösta Ekman | ... | Narrator (voice: Swedish version) | |
| Fiorello | ... | Narrator (voice: Italian version) | |
| Morgan Freeman | ... | Narrator (voice: English version) | |
| Sofie Gråbøl | ... | Narrator (voice: Danish version) | |
| Hikari Ishida | ... | Haha-Penguin (voice: Japanese version) | |
| Ryûnosuke Kamiki | ... | Ko-Penguin (voice: Japanese version) | |
| Takao Osawa | ... | Chichi-Penguin (voice: Japanese version) | |
Dirigida por | |||
| Luc Jacquet | |||
Créditos del guión(WGA) | ||
| Jordan Roberts | (US narration) | |
| Luc Jacquet | (earlier screenplay) & | |
| Michel Fessler | (earlier screenplay) | |
| Luc Jacquet | (story) | |
Producida por | |||
| Jean-Christophe Barret | .... | co-producer | |
| Yves Darondeau | .... | producer | |
| Ilann Girard | .... | executive producer | |
| Christophe Lioud | .... | producer | |
| Emmanuel Priou | .... | producer | |
Música original por | |||
| Emilie Simon | |||
| Alex Wurman | (US version) | ||
Fotografía por | |||
| Laurent Chalet | |||
| Jérôme Maison | |||
Montaje por | |||
| Sabine Emiliani | |||
Dirección de producción | |||
| Jean-Christophe Barret | .... | post-production supervisor | |
| Daniel Longuein | .... | production manager | |
Ayudante de dirección | |||
| Jérôme Maison | .... | assistant director | |
Departamento de sonido | |||
| Willy Allen | .... | adr supervisor: USA version | |
| Kevin E. Carpenter | .... | sound re-recording mixer (as Kevin Carpenter) | |
| Pascal Dedeye | .... | foley artist | |
| Eric Ferret | .... | additional sound recordist (as Éric Ferret) | |
| Scott A. Jennings | .... | supervising sound editor: US version | |
| Gérard Lamps | .... | sound re-recording mixer | |
| Armelle Mahé | .... | foley recordist | |
| Steve Pederson | .... | sound re-recording mixer | |
| Laurent Quaglio | .... | sound designer | |
Visual Effects | |||
| Catherine Athon | .... | head of digital post-production | |
| Odile Beraud | .... | scan and shoot (as Odile Béraud) | |
| Benjamin Clément | .... | 2k operator | |
| Gisèle Courcoux | .... | scan and shoot | |
| Arnaud Damez | .... | computer designer | |
| Fabien Eigen | .... | scan and shoot | |
| Émilie Feret | .... | digital special effects coordinator | |
| Thierry Flament | .... | computer designer | |
| Sebastien Gombeaud-Saintonge | .... | Flame artist: Eclair lab | |
| Sebastien Gombeaud-Saintonge | .... | computer designer | |
| Luc Guénard | .... | calibration | |
| Sébastien Guyot | .... | scan and shoot (as Sebastien Guyot) | |
| Élodie Ichter | .... | Lustre assistant | |
| Laurent Jentot | .... | computer designer | |
| Christophe Keichinger | .... | scan and shoot | |
| Robert Kfoury | .... | scan and shoot | |
| Marc Latil | .... | visual artist | |
| Benjamin Massoubre | .... | 2k operator | |
| Joyce Menger | .... | head of digital special effects | |
| David Montoya | .... | scan and shoot | |
| Frederic Moreau | .... | head of digital special effects (as Frédéric Moreau) | |
| Stéphane Praux | .... | 2K exploitation | |
| Laetitia Roure | .... | digital grading post-production coordinator | |
| Gérard Soirant | .... | scan and shoot (as Gerard Soirant) | |
| Georges Tornero | .... | digital artist | |
| Karim Touzene | .... | computer designer | |
Cámara y Departamento Eléctrico | |||
| François de Riberolles | .... | submarine cinematographer | |
| Éric Leclerc | .... | aerial photographer | |
| Jérôme Maison | .... | still photographer | |
| Patrick Marchand | .... | submarine cinematographer | |
Departamento de Edición | |||
| Nicolas Criqui | .... | digital conformation | |
| Valentine Duley | .... | assistant editor | |
| Brice Ferre | .... | assistant editor | |
| Jean-René Nébot | .... | digital color timer | |
| Philippe Reinaudo | .... | digital intermediate technical director | |
| Wilson Stiner | .... | post-production assistant | |
| Emmanuelle Zelez | .... | assistant editor | |
Departamento de Música | |||
| Tom Calderaro | .... | orchestrator (US version) | |
| Rose Corrigan | .... | musician: bassoon (US version) | |
| Samuel Lehmer | .... | score mixer (as Sam Lehmer) | |
| Samuel Lehmer | .... | score recording engineer (as Sam Lehmer) | |
| Larry Mah | .... | score recording engineer | |
| Laura McLean | .... | assistant to composer (US version) | |
| Jeffrey Schindler | .... | conductor (US version) (as Jeff Schindler) | |
| Ellen Segal | .... | music editor | |
| Fred Selden | .... | musician: flute solos (US version) (as Fred Seldon) | |
| Emilie Simon | .... | music producer | |
| Emilie Simon | .... | musician | |
| Alan Steinberger | .... | musician: piano (US version) | |
| Alex Wurman | .... | music score producer (US version) | |
Otros miembros del equipo | |||
| Christophe Barbraud | .... | scientific advisor | |
| Jean-François Camilleri | .... | local distributor | |
| Martine Cardet | .... | accountant | |
| Olivier Chiavassa | .... | head of production | |
| Debbi Datz-Pyle | .... | contractor (US version) (as Debbi Datz Pyle) | |
| Göran Ehlmé | .... | archive source (as Goran Elhme) | |
| Matthieu Guenoux | .... | trainee production assistant | |
| Amandine Henrion | .... | production team | |
| Kali Ligertwood | .... | production team | |
| Catherine Marconnet | .... | production team | |
| Christian Palacin | .... | aerial shot | |
| Bruno Patin | .... | film grading | |
| Philippe Reinaudo | .... | technical supervisor: Cinenum | |
Gracias | |||
| Alain Boutillot | .... | special thanks | |
| Patrice Godon | .... | special thanks | |
| Gérard Jugie | .... | special thanks | |
| Michel Munoz | .... | special thanks | |
| Sophie Parrault | .... | special thanks | |
| Delphine Tual | .... | special thanks | |
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| Happy Feet | Finding Nemo | Madagascar | Ice Age: The Meltdown | Eight Below |
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| Reparto y Personal Completos | Créditos de la compañía | Críticas externas |
| IMDb Documental section | IMDb France section | Add this title to MyMovies |
Toss that anthropomorphic expectation and embrace your inner animal because documentarian Luc Jacquet has done the impossible: March of the Penguins respects, even adores, these indomitable cuties, not because, as Morgan Freeman says in his voice-over narration, they may be just like us, but rather because they are not like us. Although we may want to see ourselves in them, we end up seeing in this incomparably intimate journey through the entire breeding cycle in Antarctica is a unique organism totally devoted to the survival of its family, brooking no selfish activity and no vacation from the harsh climate and relentless demands of nature.
This film's strength is a lack of sentimentality that allows us to focus on the strategies of survival: Thousands of penguins closely huddle with their backs to the sometimes 100 mile an hour winds; fathers and mothers equally share responsibilities such as trudging 70 miles each way to store up food for the babies; fathers protect eggs while mothers make that journey; mates separate after the season from each other and their babies forever. Their lovemaking is dignified and the essence of minimalism. These are just a few of the rituals that characterize an evolutionary process guaranteeing the survival of the species.
Jacquet occasionally courts repetition, anathema to a hyperactive audience, but if the audience gives itself over to the rhythms of penguins breeding to live, it will not be bored. Winged Migration seems strangely detached by comparison, formations mostly seen from afar. Jacquet gets up close and personal (The parents exchanging an egg to be stored under their coats is memorable) to make the audience collaborator rather than voyeur. Lamentably, the director includes no scenes of raw predator activity, just a large scavenger scooping up a baby. A documentary should allow the audience of experiencing the good and the bad.
A few years ago I hid in a trench in New Zealand to see Penguins rise out of the sea at the same time each day marching by us to their camps. I was deeply moved by their dignity and calm, punctuated with a resolve to keep their rituals intact for millennia. That unflagging constancy is devoutly to be wished in humanity.
For once, the trailer hype may be accurate: "In the harshest place on earth, love finds a way." Love of species would be more accurate. No matter, you'll love the film.