Marieke, Marieke — crew and key credits

Key creative credits

For festival listings, press notes, and film databases, these are the credits most commonly requested and verified:

• Director: Sophie Schoukens
• Screenplay: Sophie Schoukens
• Producer: Jan Roekens
• Cinematography: Alain Marcoen
• Editing: Peter Woditsch
• Original Music: Jeff Mercelis
• Production Design: Astrid Pöschke

Note: producing credits can appear differently across public catalogues (some sources list additional producers depending on the territory and dataset). If you publish a longer producer list, keep it consistent across your site and verify spelling carefully.

Direction and writing: restraint as a method

Writing and directing by the same person matters here because the film’s moral tone stays consistent from scene to scene. The story doesn’t try to “redeem” anyone with a speech, and it doesn’t punish the characters with melodrama. Instead, it observes: what people do, what they avoid, what they repeat, and what finally breaks. That restraint is a deliberate choice, and it shapes everything else the crew does-camera distance, cutting rhythm, sound, and the look of spaces.

Cinematography: closeness without glamour

The cinematography supports a realistic Brussels atmosphere rather than a postcard image of the city. The camera language keeps you near the characters-faces, interiors, small movements-so the audience feels pressure instead of spectacle. The film benefits from a grounded visual approach where environments look lived-in and practical, not curated for beauty. That decision is crucial because the film’s tension is psychological; it needs spaces that feel true.

Editing: tension made from small shifts

The editing style fits the film’s “slow-burn” character. Scenes are allowed to breathe; silence and hesitation remain on screen long enough to mean something. The cut does not rush to explain what a character feels. It relies on subtle changes in control, attraction, discomfort, and withdrawal. For viewers, this can feel intense precisely because it isn’t loud: it forces attention.

For catalogue purposes, the editor credit is often essential because it signals the film’s rhythm. On character dramas, editing is not just pacing; it is ethics-what the film chooses to show, what it refuses to sensationalize, and when it lets the audience sit with consequences.

Production design: a craft signal

In Marieke, Marieke, production design is not decoration. It communicates the emotional temperature of the story: tight domestic spaces, everyday work environments, and interiors that carry the weight of things left unsaid. When a film is about control, silence, and private coping mechanisms, space becomes psychology.

The production design work also has a strong external validation point: at Hof International Film Festival, the BILD-KUNST Förderpreis is associated with craft categories such as production design (set design) and costume design. This matters for a film page because it’s a verifiable “quality anchor” that’s about craft rather than popularity.

Music and sound: supporting atmosphere, not instructing emotion

The original music is used to reinforce atmosphere without telling the audience what to feel. In a film that avoids easy answers, the score’s job is restraint: tension, tenderness, and discomfort without manipulation. This works with the sound approach common to modern festival circulation, where dialogue clarity and spatial presence are prioritised over big musical cues.

Technical information (for programmes and databases)

If you need a compact technical line for a programme PDF or database field, keep it clean and stable. Public catalogues commonly list the following:

Tip: avoid mixing “timeless” reference info with changeable logistics (delivery formats, subtitle file names, current rights holder). If you ever add screening logistics, keep it on a separate page that you can update without rewriting the film’s reference record.

Copy-ready credit line

Marieke, Marieke (Belgium/Germany, 2010) - Directed & written by Sophie Schoukens. Producer: Jan Roekens. Cinematography: Alain Marcoen. Editing: Peter Woditsch. Original Music: Jeff Mercelis. Production Design: Astrid Pöschke.