#olive schreiner

[dame-de-pique]

Olive Schreiner - Dreams, Imprint: London: T. Fisher Unwin, 1905.

#Olive Schreiner #T. Fisher Unwin #book #books #book cover

[biboocat]

I first heard about The Story of an African Farm (1883) by the South African writer Olive Schreiner in Vera Brittain’s memoir of the Great War, Testament of Youth. She and her fiancé, Roland Leighton were intensely interested in it, but its contents weren’t discussed, so I was curious to read it. Olive Schreiner wrote this debut novel when she was only in her 20s. The Story of an African Farm is set on an isolated farm in the South African veld. It is a coming of age story of the three children who live there, the two girls Em and Lyndall and Waldo, the farm manager’s son. Schreiner’s views are told mostly through Waldo and Lyndall as we follow their development and difficult quests. The novel is unconventional. Besides the traditional narrative sections it has the unusual features of an exposition (Times and Seasons) and an allegory as well as a lengthy letter. She describes Waldo’s spiritual journey from unquestioned religious belief to skepticism and apostasy and the replacement of the religious void with knowledge and an appreciation for the beauty and order of Nature. Olive Schreiner was raised by devout Christian missionaries but lost her religious faith after the death of her beloved 17 month old sister Ellie. Schreiner also raises the issue of gender inequality through Lyndall: the limitations on women’s education and their subservient roles in society, and she describes Lyndall’s desperate struggle for autonomy. I wasn’t surprised to learn that Olive Schreiner loved George Eliot‘s the Mill on the Floss and that she identified with Maggie Tulliver. Her views were quite progressive and controversial for her time, and the book was met with both wide appeal and opposition. I can imagine how it must have resonated with Vera Brittain’s own agnosticism and feminism. It’s a philosophical work that courageously challenges both the form of the Victorian novel and restrictive Victorian social conventions.

Memorable excerpts (among many):

“We must have awakened sooner or later. The imagination cannot always triumph over reality, the desire over truth…Now we have no God. We have had two: The old God that our fathers handed down to us, that we hated, and never liked; the new one that we made for ourselves, that we loved; but now he has flitted away from us, and we see what he was made of – the shadow of our highest ideal, crowned and enthroned.”

“But we, wretched unbelievers, we bear our own burdens; we must say, I myself did it, I. Not God, not Satan; I myself!”

I came across a reference to Olive Schreiner in a review of Lyndall Gordon’s biographical work, Outsiders: Five Women Writers Who Changed the World. I haven’t read it, but it sounded interesting, and I have provided the link:

The edition I read is from the Limited Editions Club. The cover material is Ugandan bark cloth, Isak Dinesen provides the introduction, and it is illustrated by Paul Hogarth. I have also seen editions from Oxford World’s Classics, Penguin, Virago, and Modern Library.

Memorable excerpts :

It is a terrible, hateful ending, said the little teller of the story, leaning forward on her folded arms; and the worst is, it is true. I have noticed, added the child very deliberately, that it is only the made up stories that end nicely; the true ones all end so.

They did not understand the discourse (the charlatan’s false sermon), which made it the more affecting. There hung over it that inscrutable charm which hovers for ever for the human intellect over the incomprehensible and shadowy.

To the old German the story it was no story. Its events were as real and as important to himself as the matters of his own life. He could not go away without knowing whether the wicked Earl relented, and whether the Baron married Emelina.

Times and Seasons is a very important chapter that outlines the course of one’s experiences with religious faith (if one is willing to think for oneself): belief, questioning, skepticism, disbelief, and finally the replacement of religion with knowledge and an appreciation of the beauty and order of Nature. Some excerpts from this chapter follow:

Is it good of God to make hell? Was it kind of Him to let no one be forgiven unless Jesus Christ died?

Is it right there should be a chosen people? To Him, who is father to all, should not all be dear?

We must have awakened sooner or later. The imagination cannot always triumph over reality, the desire over truth…Now we have no God. We have had two: The old God that our fathers handed down to us, that we hated, and never liked; the new one that we made for ourselves, that we loved; but now he has flitted away from us, and we see what he was made of – the shadow of our highest ideal, crowned and enthroned. Now we have no God...

We do not cry and weep; we sit down with cold eyes and look at the world. We are not miserable. Why should we be? We eat and drink, and sleep all night; but the dead are not colder.

And we add, growing a little colder yet, ‘There is no justice. The ox dies in the yoke beneath its master’s whip; it turns its anguish-filled eyes on the sunlight, but there is no sign of recompense to be made it. The black man is shot like a dog, and it goes well with the shooter. The innocent are accused, and the accuser triumphs. If you will take the trouble to scratch the surface anywhere, you will see under the skin a sentient being writhing in impotent anguish.’ And we say further, and our heart is as the heart of the dead for coldness, ‘There is no order’: all things are driven about by a blind chance.’. p117

What a soul drinks in with its mothers milk will not leave it in a day. From earliest hour we have been taught that the thought of the heart, the shaping of the rain-cloud, the amount of wool that grows on a sheep‘s back, the length of a drought, and the growing of the corn depend on nothing that moves immutable, at the heart of all things; but on the changeable will of a changeable being, whom our prayers can alter. To us, from the beginning, nature has been but a poor plastic thing, to be toyed with this way or that, as man happens to please his deity or not; to go to church or not; to say his prayers right or not; to travel on a Sunday or not. Was it possible for us in an instant to see Nature as she is – the flowing vestment of unchanging reality? When a soul breaks free from the arms of a superstition, bits of the claws and talons break themselves off in him. It is not the work of a day to squeeze them out...

Whether a man believes in a human-like God or no is a small thing. Whether he looks into the mental and physical world and sees no relation between cause and effect, no order, but a blind chance sporting, this is the mightiest fact that can be recorded in any spiritual existence. p118

Following this, the appreciation of the acquisition of knowledge and Nature’s own beauty and order fills the void of religion. pp119-121

We have never once been taught by word or act to distinguish between religion and the moral laws on which it has artfully fastened its self, and from which it has sucked it’s vitality.

But we, wretched unbelievers, we bear our own burdens; we must say, I myself did it, I. Not God, not Satan; I myself!

The secret of success is concentration; wherever there has been a great life, or a great work, that has gone before. Taste everything a little, look at everything a little; but live for one thing. Anything is possible to a man who knows his end and moves straight for it, and for it alone.

#olive schreiner

[melancholyromantic]

When it’s -3°c outside so you lie under all the blankets, a cup of tea and the reading for next week’s class

#books #gradblr #grad student #studyblr #the story of an african farm #olive schreiner

[samduqs]

"I am so tired of it, and also tired of the future before it comes"

—OLIVE SCHREINER

#olive schreiner #doris lessing #martha quest #feminism #academia #book quotes #booklr #bookworm

[beljar]

I am not in so great a hurry to put my neck beneath any man's foot; and I do not so greatly admire the crying of babies.

Olive Schreiner, The Story of an African Farm, 1883

#olive schreiner #the story of an african farm #south afran literature #hegemony #literary text #quotes #dark acadamia aesthetic #classic literature #translated literature

[krautjunker]

Die Geschichte einer afrikanischen Farm

Buchvorstellung von Werner Berens Inhalt Die Geschichte einer afrikanischen Farm heißt das Büchlein in ungewohntem Format (10 mal 15 cm). Auf 536 Seiten in kleiner Schrift erzählt die Autorin Olive Schreiner selbige. Auf einer Farm, geführt von einer verwitweten Holländerin versucht sie mit ihrem deutschen Aufseher, seinem Sohn, ihrer Tochter Em, ihrer Nichte Lyndall und etlichen »Kaffern« dem…

View On WordPress

#Buchvorstellung #Die Geschichte einer afrikanischen Farm #Jagdblog #Kritik #MANESSE BIBLIOTHEK #Olive Schreiner #Olive Schreiner Die Geschichte einer afrikanischen Farm #Rezension #Rezension Die Geschichte einer afrikanischen Farm

[rebrandtdebibls]

van Olive Schreiner NG Kerk tot stand gebring. Ook hier het vroue soms 'n leeftyd daaraan bester om hierdie gestremde kinders op 'n lewensweg te lei wat vir hulle meer geluk kan bring.

Veral op die platteland het goewernantes baie gedoen om skoolonderrig aan ons kinders te gee. Olive Schreiner, die bekende skryfster, was een van die goewernantes

N.G. Kerk stig eie inrigtings Die Normaal-kollege, wat in 1878 deur die N.G. Kerk in Kaapstad gestig is en wat as die eerste onderwyskollege in die land beskou moet word, is feitlik deur 'n vroulike personeel gedra. Hierdie ingevoerde onderwyseresse word be skryf as toegewyde en bekwame vroue met 'n Christelike lewensuitkyk. Hulle het 'n groot invloed uitgeoefen.

Op die groot platteland van die Kaap provinsie was dit hoofsaaklik die goewer nantes (en moeders) wat die boerekin ders van ongeletterdheid gered het. Ongelukkig weet ons bitter min van hulle. Feitlik die enigste bekende naam hier is dié van Olive Schreiner, daardie vurige voorstander van emansipasie vir die vrou, en skryfster van die bekende bock Story of an African Farm. Die toestande waaronder hierdie gehuurde goewernantes moes werk, was meesal ellendig (soos afgelei kan word van Olive Schreiner se werksomstandig hede).

Die baanbrekerswerk op die gebied van skole vir liggaamlik-gestremde kin ders is deur vroue gedoen, ses lerse Dominikaanse Grimly Institute for the Deaf and nonne wat in 1863 die Dumb in Kaapstad gestig het. Die Instituut vir Doofstommes en die Insti tuut vir Blindes op Worcester is later deur die Nederduits Gereformeerde.

#van Olive Schreiner #dutchblr #afrikaans #dutch language #original poem #poeta #woorden #vangelo #duna #nederland #do revenge #ich liebe dich #literatura #liefde

[thegoatsongs]

The Harkers' marriage has much in common with what New Woman authors and their male allies were positing as an ideal union, one founded on "love and trust and friendship." (29) Friendship is a recurring theme in New Woman discussions of marriage. In an 1884 letter to Olive Schreiner, Havelock Ellis muses, "the best kind of union between a man and a woman is a sort of camaraderie ... between two people who care about the same things, who are going the same way, & can walk arm and arm, & kiss & encourage each other on the way." (30) Though most New Woman authors shared Caird's view that such a companionate union was "well-nigh impossible" in the present day, Stoker is more optimistic. Possessing the "love, respect, intellectual likeness, and command of the necessities of life" required for an "ideal" marriage, the Harkers could "look clear through one another's eyes into one another's hearts." (31)

In treating Mina as his peer, Jonathan Harker is most unlike John Seward, whose dealings with Lucy demonstrate an inclination to perceive a woman's beauty rather than her brains. Yet Seward, though not a New Man, has the potential to become one.

When Mina telegraphs to announce her arrival, John is far from pleased: she is a distraction from the important work of reading the papers Van Helsing has given him. "I must get her interested in something else," he determines, and "I must be careful not to frighten her" (195). Mina's appearance--"a sweet-faced, dainty-looking girl" (194)--fits his stereotype of a woman needing protection. When Mrs. Harker asks to see his account of Lucy's final days, Dr. Seward declares, "Not for the wide world!" (195). "Why not?" she asks, and, realizing (with the same acuity Lucy possessed) that he is "trying to invent an excuse" for demurring, is charmed to see him, "with the naivete of a child" and "unconscious simplicity," blurt out an excuse whose truth he realizes only as he speaks it: he cannot let her listen to his account of Lucy's death because he has dictated it into his phonograph and does not know how to locate it in the cylinders (196). His grimaces and exclamations of "That's quite true, upon my honor" and "Honest Indian!" underscore his boyishness. Bemused, Mina replies that, in that case, he must let her type out all his notes. The doctor cannot argue. Begging her pardon and admitting that she is "quite right," he makes "the only atonement in [his] power" by entrusting her with the cylinders (196). We need have no secrets amongst us," she tells him; "working together and with absolute trust, we can surely be stronger than if some of us were in the dark" (197). Impressed by her "courage and trust," he embraces her modus operandi. By the end of the evening, he has accepted on equal footing the woman he at first dismissed as an annoying distraction whom he must "be careful not to frighten," telling her, "We must keep one another strong for what is before us; we have a cruel and dreadful task" (198). [...] In this scene, we glimpse the future Caird envisions, "when men and women shall be comrades and fellow-workers as well as lovers and husbands and wives." (32)

Winstead, K., Mrs. Harker and Dr. Van Helsing: Dracula, Fin-de-Siecle Feminisms, and the New Wo/Man

#dracula daily #dracula #mina harker #jonathan harker #jack seward #i like a lot of things in this article #and some i disagree with but #it describes the effect mina has on jack very well i think #john seward

[smute]

also obsessed with this footnote

[ID: * 'To have sexual intercourse' is long-winded and legalistic; 'to copulate' is clinical and disapproving; to make love' in a fully sexual sense is a relatively recent euphemism (c. 1950); 'to go to bed with' and 'to sleep with' are euphemisms inappropriate for many situations, including sex outdoors, and are also fairly recent (c. 1945). 'To fuck' is in many ways preferable to the euphemisms, and is the word Mellors uses in Lady Chatterley's Lover. Unfortunately, it draws self-conscious attention to itself. Lawrence is cited in OED2 as by far the earliest person - in 1929 - to use 'to have sex' in print ('Sex and Trust', Poems 466, perhaps as an abbreviation of Olive Schreiner's 'to have sex relations' from 1911). As the phrase has at least the merit of directness, I have (rather reluctantly) used it at times. /end ID]

John Worthen – D. H. Lawrence: The Life of an Outsider, p. 75

#&

[lucidloving]

Olive Schreiner, “The Buddhist Priest’s Wife” (1892)

#i love this short story #navigating femininity during a time of such great social upheaval #freeing oneself from the binds of traditional expectations #allowing onself to express and to chase and to dream and to learn and to run #but simultaneously feeling a deep sense of emotionality and love #is this okay? #am i betraying myself? #how can i give and receive love without it being the cruellest form of degradation: the kind you invite upon yourself? #but the woman in this piece is so very beautiful #reclaiming power and deciding for yourself what your future will look like #but also feeling a deep sympathy for those who have loved her #love in history has often been a curse for women #but love- when genuine and warm and sincere- is a truly wonderful thing #and appreciating love and those who have loved you is not a betrayal of yourself

[notwiselybuttoowell]

Mathilde Blind by Lucy Madox Brown, 1872

Mathilde Blind (born Mathilda Cohen; 21 March 1841 – 26 November 1896), was a German-born English poet, fiction writer, biographer, essayist and critic. In the early 1870s she emerged as a pioneering female aesthete in a mostly male community of artists and writers. By the late 1880s she had become prominent among New Woman writers such as Vernon Lee (Violet Paget), Amy Levy, Mona Caird, Olive Schreiner, Rosamund Marriott Watson, and Katharine Tynan. She was praised by Algernon Charles Swinburne, William Michael Rossetti, Amy Levy, Edith Nesbit, Arthur Symons and Arnold Bennett. Her much-discussed poem The Ascent of Man presents a distinctly feminist response to the Darwinian theory of evolution.

Blind's early political affiliations were shaped by the foreign refugees who frequented her stepfather's house, including Giuseppe Mazzini, for whom she entertained a passionate admiration and about whom she would publish reminiscences in the Fortnightly Review in 1891. Other revolutionaries who frequent her mother and stepfather's house in St. John's Wood included Karl Marx and Louis Blanc. Her early commitment to women's suffrage was influenced by her mother's friend Caroline Ashurst Stansfeld, who was active in the British feminist movement from its origins in the 1840s. These radical affiliations are manifested in Blind's politically charged poetry, and in her own unbending commitment to reform. As Richard Garnett observed, in the society of political refugees and radicals Blind was raised in, "admiration must necessarily be reserved for audacity in enterprise, fortitude in adversity... anything breathing unconquerable defiance of the powers that were."

#pre raphaelite #the pre-raphaelite sisterhood #on two fronts really #read the wikipedia if you have a minute those are just small excerpts of much interesting material #victorian women #women authors #women painters #victorian era #lucy madox brown #mathilde blind #women's rights #women's suffrage #pre-raphaelite sisterhood

[biboocat]

This is an informative and entertaining talk about “Five Women Writers Who Changed the World” by the award winning South African author and Fellow of the Royal Society of Literature and Fellow of St. Hilda’s College, Oxford, Lyndall Gordon. The five women writers are Mary Shelley, Emily Brontë, George Eliot, Olive Schreiner, and Virginia Woolf. Press the play button in the link to start the talk. You can see the talk in full screen mode directly from YouTube.

Near the end of the talk, Lyndall Gordon relates a wonderful proposition by Virginia Woolf’s Quaker aunt, Miss Stevens, for a third House of Parliament, a consultative body composed of women and elected by women who would eschew the traditional framework of adversarial government and would instead employ the tenets of preservation, nurture, sympathy, compromise, and listening.❤️

#lyndall gordon #mary shelley #emily bronte #george eliot #olive schreiner #virginia woolf #Youtube

[afieldinengland]

olive schreiner, the story of an african farm

#whatever #the story of an african farm

[grandhotelabyss]

Have you read much African literature (apart from Coetzee?)

I confess (if this is a topic requiring confessions) that it hasn't been an area of focus for me. I've one read novel each by Achebe (Things Fall Apart), Salih (Season of Migration to the North), and Gordimer (The Pickup). I've read Soyinka's most famous play, Death and the King's Horseman, his state-of-the-world Reith Lectures (Climate of Fear), and a handful of his other essays on art, culture, and politics. I read Okey Ndibe's Foreign Gods, Inc., and then went to hear the author speak down the street at the Soap Factory, when it still existed; he and his book are very funny. I've read (I even taught) Phaswane Mpe's Welcome to Our Hillbrow; my friend from South Africa, Maurits, now a professor at the University of the Western Cape, pressed it upon me in graduate school after I conceded I'd only read Gordimer and Coetzee. And Alan Paton. We read Cry, the Beloved Country in high school; I think it counted as the non-European selection in 12th-grade world literature. If the colonial diaspora in Africa counts, I've read Olive Schreiner (Woman and Labour) and Doris Lessing (The Golden Notebook); if the postcolonial diaspora in America and Europe counts, I've read Chris Abani (The Virgin of Flames), Teju Cole (Open City), and Marguerite Abouet (Aya de Yopougon). To what continent of the mind does Cavafy's Alexandria belong? Perhaps neither to Africa nor to Europe, to no land at all, but to the Mediterranean Sea. Nevertheless, I have read Cavafy's Collected Poems. Some of Senghor's poetry, too, and his "Negritude: A Humanism of the Twentieth Century." Some of Ngũgĩ's polemics also, e.g., Decolonising the Mind, but not yet one of his novels: illustrating the geographic inequality still obtaining in what our Marxist friends call the "system" of world literature, I keep waiting for the call from Stockholm to impel me, though I do suspect the Swedes gave his prize away to his lesser-known exegete, Abdulrazak Gurnah. I want to read Gurnah's Paradise along with Ngũgĩ's Devil on the Cross. If only for a final reckoning with Marxism, I want to read Burger's Daughter by Gordimer. I know I have to read Bessie Head someday. Soyinka's seems a sensibility as bottomless as that of Joyce or Borges, so I know I have to go back to him, to all the plays and to The Interpreters and Aké and Art, Dialogue, and Outrage. I must return to Egypt—not to Cavafy's Alexandria next time, but to Mahfouz's Cairo, where I fear I've never been. Nuruddin Farah and I used to shop at the same grocery store, but I still need to read him. The to-read list goes on: Mia Couto, Christopher Okigbo, and especially Dambudzo Marechera, whose experimental and anarchic works I've only browsed, but whose cosmopolitan motto I admire: "If you are a writer for a specific nation or a specific race, then fuck you." And a book I should have read 20 years ago, 25 years ago—they should have just made us read it in Catholic school—which I still keep meaning to get to: the Confessions of St. Augustine.

#african literature

[dedicatedtodance]

National Dance Radio Airplay

For the week ending April 20, 2024

Never Be Alone --Becky Hill & Sonny Fodera -3

Happier --The Blessed Madonna feat/Clementine Douglas -2

Cutting Loose --Disco Lines, J. Worra, Anabel Englund -1

Lovers In A Past Life --Calvin Harris & Rag'N'Bone Man -6

I Just Need --Danel Allan feat/Lyrah -5

Make You Mine --Madison Beer -9

Lighter --Galantis, David Guetta, 5 Seconds of Summer -14

I'm Only Here For the Beat ---Madelline -4

Dance Alone --SIA feat/Kylie Minogue -10

Why Should I ---Z3LLA -7

Tell Me Who You Are ---Morgin Madison, Ryan Lucian, JAS. -12

Thinking 'Bout Us ---Dannii Minogue & Autone -13

All My Life ---Tiesto, Fast Boy -8

Shiver --John Summit & HAYLA -16

Whatever ---KYGO feat/Ava Max -20

Addicted --ZERB & The Chainsmokers feat/INK -17

Everything You Do --AFROKI, Afrojack, Steve Aoki feat/Aviella. -19

Young & Foolish ---Loud Luxury feat/Charlieonafriday -11

Heaven Or Not ---Diplo & Riva Starr feat/Kareen Lomax -24

Last Of Us --Gryffin feat/Rita Ora -18

Training Season --Dua Lipa -23

Houdini --Dua Lipa -15

Thank You (Not So Bad) --Dimitri Vegas & Like Mike, Tiesto, W&W -22

Complicated --Luca Schreiner -28

The Way It is --Cheat Codes X Two Friends -29

Not Even Love ---Seven Lions, ILLENIUM feat/ASDIS -38

Da Da Dum --Baby Jane -34

Drums ---James Hype, Kim Petras -32

Forever (Stay Like This) --Armin Van Buuren -33

Weight Of The World --Bonnie X Clyde -44

Best Thing ---Timmy Trumpet -25

Rizz ---AYYBO --36

***I Don't Wanna Wait --David Guetta & One Republic -67

Murder On The Dancefloor --Sophie Ellis-Bextor -31

Little Bit Yours ---Galantis, Hannah Boleyn -21 >>>

Carry You --Martin Garri & Third-Party feat/Declan J Donavan -47

Ease My Mind --Switch Disco & AUTOGRAF -28

Water --TYLA -30 >>>

Body Moving ---Eliza Rose X Calvin Harris -35

Mas Que Nada --Oliver Heldens, Ian Asher, Sergio Mendez -40 >>>

Glow --San Holo feat/AU/RA -45

Buscando Money --Twenty-Six, Tayson Kry$$ -42 >>>

Feather --Sabrina Carpenter -39

Yes, And? --Ariana Grande -27 >>>

Nostalgia ---NOTD & Georgia Ku -43

We Ain't Here For Long --Nathan Dawe -41

Take So Long --ARTY feat/XIRA -48

Exes --Tate McRae -46

<>Saving Up --Dom Dolla -51

Off Switch --VASSY -49

***new on the chart <> re-entry >>>off next weeks chart

#dedicatedtodance

[remixinc]

MAUI JIM — COLOR YOU CAN FEEL (sound design version) from Neels Castillon on Vimeo.

An immersive journey through color, beauty, and emotion; a pivotal moment in the Brand’s global refresh by Kering Eyewear. Evan Mock, the embodiment of Maui Jim's contemporary coolness, takes center stage as Global Brand Ambassador in the new advertising campaign, 'Color You Can Feel'.

directed by Neels Castillon

client — Maui Jim & Kering Eyewear

talent — Evan Mock, Lisa Washington, Jing Huang, Sam Webb, Danika Pienaar, Alejandra Alonso

agency — Media.Monks global client partner — Raffaella Galliano creative director — Imogen Farrell creative director — Javier Castan global production lead — Davide De Santis senior integrated producer — Kotryna Nas strategy director — Daniel Lewis integrated producer — Kotryna Nas post-producer — Rodrigo Marquez creative — Shona Speres associate design director — Bruno Ferdinand

production — Media.Monks EP — Rogier Dorant senior film producer — Kat Perciballi production manager — Rebecka Jonsson DP — Romain Alary FPV drone — Benoit Finck drone op — Josselin Cornil stylist — Lola Elizabeth Chatterton stylist assistant — Kornelia Lukaszewic

Spain service production — Camino Films EP — Laura Diez head of new business — Joan Carles Gómez producer — Natalia Vargas production manager — Daniel Tarifa production coordinator — Nona Segimon PA — Manuela Greene hmc — Dani Rull director’s driver — Fernando Vega 1st AD — Edgar Vicho 2nd AD — Paula Bilbao 1st AC — Adria Alcalá 2nd AC — Arturo Rodriguez steady cam — Alvaro Carla steady assistant — Luis Vera gaffer — Christian Warkentin best boy — Iker Nordelo prop master — Alberto Ugidos key grip — Ramón Rodríguez DIT — Chemi Ferreiro video operator — Charly video assist — Winslow Iwaki location manager — Simone Parodi PA — Alberto Lahoud unit manager — Oliver Morales catering — Tomate light truck driver — Javier Castellano

Germany service production — SuperCine executive producer — Luis Pietsch 1st AD — Dominik Nikel production manager — Moritz Duesterberg set manager — Vicky Schmidt location scout — Regina Kaczmarek location manager — Ralf Schreiner driver — Khashi Kallili 1st AC — Jens Hotter 2nd AC — Jonas Büttner gaffer — Tilo Ullrich best boy — Jesco Rohleder prop master — Alberto Ugidos key grip — Klaus Sprenger DIT/VTR —Christian Dressler hmc — Sonja Noé hmc assistant — Leony Jehmlich

post-production — Motion Palace music — DJ Pone editors — Vincent Duluc, Sébastien Rouquet sound design — Yann Rouquet producer — Louis Arnoux VFX — St Louis flame artist — François Gilguy colorist — Sylvain Canaux