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Welcome to Marwen (2018)

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A victim of a brutal attack finds a unique and beautiful therapeutic outlet to help him through his recovery process.

Director:

Robert Zemeckis

Writers:

Robert Zemeckis (screenplay by), Caroline Thompson (screenplay by)
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Popularity
1,174 ( 221)

What Steve Carell Loved Most About Being a Doll

Steve Carell and the cast of Welcome to Marwen talk about being transformed into "way better-looking" versions of themselves, and share the secret of playing plastic perfectly.

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2 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
Steve Carell ... Mark Hogancamp / Cap'n Hogie
Falk Hentschel ... Captain Topf / Louis
Matt O'Leary ... Lieutenant Benz / Carl
Nikolai Witschl ... Rudolph / Rudy
Patrick Roccas ... Stefan / Stevie
Alexander Lowe ... Werner / Vern
Eiza González ... Carlala (as Eiza Gonzalez)
Leslie Zemeckis ... Suzette
Merritt Wever ... Roberta
Gwendoline Christie ... Anna
Stefanie von Pfetten ... Wendy
Janelle Monáe ... GI Julie
Leslie Mann ... Nicol
Neil Jackson ... Kurt / Major Meyer
Samantha Hum ... Therapy Tech
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Storyline

On April 8, 2000, aspiring artist Mark Hogancamp (Steve Carell) became a victim of a violent assault when five men beat him up and left him for dead. Following the attack, Mark was left with little to no memory of his previous life due to brain damage inflicted by his attackers. In a desperate attempt to regain his memories, Hogancamp constructs a miniature World War II village called Marwen in his yard to help in his recovery. Unfortunately, Mark's demons come back to haunt him when he's asked to testify against the five men that attacked him..

Plot Summary | Plot Synopsis

Taglines:

The Director of FORREST GUMP Invites You to a Most Unexpected Place See more »


Motion Picture Rating (MPAA)

Rated PG-13 for sequences of fantasy violence, some disturbing images, brief suggestive content, thematic material and language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Japan | USA

Language:

English | German | French

Release Date:

21 December 2018 (USA) See more »

Also Known As:

The Women of Marwen See more »

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Box Office

Budget:

$39,000,000 (estimated)

Opening Weekend USA:

$2,354,205, 23 December 2018

Gross USA:

$10,763,520

Cumulative Worldwide Gross:

$13,061,491
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | DTS (DTS: X)

Color:

Color

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

The real-life doll village is actually named Marwencol, a combination of Mark, Wendy, and Colleen. The real Colleen became the character Nicol, so the "col" was dropped from the name. See more »

Goofs

The Nazis speak broken German with heavy English accent. See more »

Quotes

Mark Hogancamp: I was beaten up because I was different, so I've built a place where I can heal.
See more »

Connections

References Death Becomes Her (1992) See more »

Soundtracks

RENEGADE
Written by Jackson Lee Benge and Jarrad Shain
Performed by Hed P.E. (as Hed PE)
Courtesy of Suburban Noize Records, Inc.
Under license from Ford Music Services
See more »

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User Reviews

The blockbusters are getting weirder
14 June 2019 | by ReadingFilmSee all my reviews

The film follows the manbaby, a sort of catch-all reflection of today's fandom indicting his inability to face reality while exploring its virtues in 'art as trauma'. (The 50-Year Old Virgin.) Actually its judgments are not so intuitive. On the surface, Hollywood pokes fun at its bread and butter while serving it as a cinema experiment in empathy and goodness. Art to trauma. But then art in art is an island of enlightenment, not escape, but living itself (artists sure have a knack for self promotion). Zemeckis is Spielberg-I wouldn't say Diet, we can go with Spielberg-Zero. Don't forget those 80s directors came up as the original nerds. Or a better way to put it, the way they fail is because their exceptional talent isolates them, so the misfires are just as connective but in the way of their peculiarities. This is a recipe for interesting disasters. (The fact he quotes both Biff and the DeLorean, he suddenly flexes: 'I'm a cinematic giant' while in the process tanking its entire integrity.) Meanwhile the film's power fantasy panders to today ignoring such women were very much national socialists themselves. Still in the great in the tradition of R. Crumb as how they show his inferiority complex and starvation for humanity. But wait. The women are real? And both not creeped out at all, but in on it? Some even want to date him? Meaning reality and fantasy are hopelessly codependent. The world will meet us anywhere. We are responsible for each other and impactful in inconceivable ways. See as it contrasts banality to Nazism: as in when fantasy of ideology seeps into our world, the consequences are dire. This is on the opposite curve of his own identity exploration in cross-dressing. Now why this is all interesting is how it presents no psychological distinction--being war hero in toys he is a war hero for real, which forecasts the 21st century virtual identity world war, humanity's original sin in trauma, and trauma itself all inside this whirlpool of 'art'. Trauma leads to art. Collective trauma leads to collective art. Then it's a functional society he creates even tucking them in. "They hate him because he's different." But reality is not enough without its second half, being fantasy. Most surprising though is its unity vision, a goodness here craving the fringe to interface: not the experience of living but then, art is living, and cinema is an early iteration of living. (Compare this to how thoroughly it rewrites 2005's The 40 Year Old Virgin; I only bring up due to Carrel and their love of figurines. The one mocks albeit lovingly, the other indulges, does not question for a moment, and allows him to pursue it to its furthest and questionable extent; Zemeckis even there gets on the ground playing with him.) None of this is intuitive or what we expected, as we witness the blockbusters attempt a reading of our time that works within its circular logic, and may only make any sort of sense in hindsight. Still, maybe there's something to the hopeless idealism of Hollywood, where Capra meets the identity age; maybe they know something we don't. Post-Note: The only thing it's missing is Roger Rabbit.


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