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The Dead Queen (2018) [N/A]

Release Date:
August 25, 2018

Original Title:
Pedro e Inês

Alternate Titles:
DIE TOTE KÖNIGIN
LA REGINA MORTA
LA REINA MUERTA
LA REINE MORTE
Pedro e Inês: O Amor Não Descansa
МЁРТВАЯ КОРОЛЕВА
ПЕДРО И ИНЕШ

Genres:
Drama | History | Romance

Production Companies:
Diálogos Atómicos
MPM Film
Persona Non Grata Pictures
RTP
Refinaria Filmes

Production Countries:
Brazil | France | Portugal

Ratings / Certifications:
 N/A

Runtime: 120

Overview from TheMovieDB

Inspired on the true events of the Portuguese king Don Pedro (14th Century) which unburied his mistress to make her queen after dead. This film tells the story of Pedro, a man admitted to a psychiatric hospital for traveling by car with the corpse of his beloved, recalling simultaneously three different lives: one from the past, another from nowadays and another one from an distopic future.

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Additional information:

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Trailer

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Performers

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Production

ADR Coordinator:
Victor Quintanilha

ADR Recordist:
Toni Lourenço
Marco Silva

Accountant:
Christiane Antoniazzi
Fernanda Antoniazzi
Luis Goncalves
Dulce Gonçalves

Adaptation:
Glória Ferreira

Armorer:
Vasco Viola

Art Department Assistant:
António Pita
Guilherme Barbosa
André Morais
Bruno Paixão

Art Direction:
Luísa Bebiano

Assistant Art Director:
Mário Carvalhal

Assistant Director:
Rui Sá Macedo
Ana Mariz
Diogo Salgado

Boom Operator:
Buga Lopes
Pedro Rocha
Luís Henrique Silveira

Camera Intern:
Thibault Pihouee

Camera Operator:
António Ferreira

Camera Trainee:
Oussama Chariji

Casting Assistant:
Marta Medeiros

Casting Director:
Patrícia Vasconcelos

Catering:
Mirella Carvalho

Co-Producer:
José Barahona
Carolina Dias
Claire Gadéa
Marie-Pierre Macia

Colorist:
Brice Pancot

Construction Coordinator:
José Baltazar

Continuity:
Tiago Cravidão

Costume Design:
Silvia Grabowski

Costume Supervisor:
Joana Veloso

Data Wrangler:
Guilherme Daniel
Miguel Ângelo D.P.

Dialogue Editor:
Victor Quintanilha

Director:
António Ferreira

Director of Photography:
Paulo Castilho

Editor:
António Ferreira

Editorial Consultant:
Karen Akerman

Executive Producer's Assistant:
André Cardoso
Veridiana Cardoso

Focus Puller:
Leandro Valente (Lee Fuzeta)

Foley Artist:
Pedro Coelho

Foley Editor:
Rafael Faustino

Foley Recordist:
Tiago Picado

Gaffer:
João Silva

Graphic Designer:
Ana Farinha

Hair Assistant:
Miguel Almeida
Paulo André Gama
Maksym Halushchak
Jekarina Matos
Ana P. Nunes
Kátia Scerbika
Cristina Simão

Hair Designer:
Carlos Gago

Hairdresser:
Paula Rodrigues

Lighting Supervisor:
Mario Soares

Lighting Technician:
Pedro Bernardino
Pedro Machado

Makeup & Hair Assistant:
Marisa Gomes
Carina Lopes
Sandra Lourenço
Susana Almeida
Jorge Pires

Makeup Artist:
Raquel Ralha

Makeup Effects:
Luísa Natário
Ana Maria Simões

Makeup Effects Designer:
Júlio Alves

Original Music Composer:
Luís Pedro Madeira

Original Story:
Rosa Lobato Faria

Post Production Supervisor:
Fabien Trampont

Producer:
António Ferreira
Tathiani Sacilotto

Production Accountant:
Isabel Da Mota
Fernando Júnior
Cláudia Meireles

Production Assistant:
Filipa Andrade
André Bem-Haja
Henrique Farinha
Naomie Lagadec
Hippolyte Lykavieris
Njoki Nyoli

Production Design:
Luísa Bebiano

Production Manager:
Sara Levezinho

Project Manager:
Leslie Aupin

Property Master:
João Paulo Santos (Kid)

Props:
Fernanda Tomás

Screenplay:
António Ferreira

Script Consultant:
Tiago Sousa

Seamstress:
Donzilia Faria

Sound Effects Editor:
Matheus Miguens

Sound Mixer:
Ricardo Cutz

Sound Post Supervisor:
Arthur Tibau

Sound Recordist:
Olivier Blanc
Rafael Gonçalves Cardoso

Still Photographer:
Carlos Barradas

Translator:
Paulo Montes

Video Assist Operator:
Marta Soares

Visual Effects:
Carlos Amaral
Hoël Sainléger

Wardrobe Assistant:
Francisco Garcia
Vera Mendes
Susi Peterson

Wardrobe Intern:
Inês Alegre
Miguel Godinho

Wardrobe Supervisor:
Marisa Carboni

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Most data and links to images for the Movies section come from TheMovieDB (TMDB).

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While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

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  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

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Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.