In Dune, Denis Villeneuve and cinematographer Greg Fraser created a stupefying vision of the vastness of the desert planet Arrakis while creating a unique mix of digital and analog effects.
– Nick N.įor all the grandeur of big budgets the MCU has bought to the screen, they’ve left much to be desired with their bland, grey cinematography. The richness and complexity of his collaboration with Jhong Yuan Chang-who, for having also acted as editor, probably made the year’s great contribution to cinema-is twofold: appreciate every muscle shift and shade of light in Lee Kang-sheng’s face and have fun spotting that one shot with a helicopter landing.
Try finding a single image in Days that isn’t perfectly calibrated between every last inch of the space and how far Tsai Ming-liang can push audience attention. Shot in looming Techniscope, Fårö becomes a neutral, demystified space––a better stage for Hansen-Løve’s slow-building narrative feints. – David K. What’s notable is that she and DP Denis Lenoir aren’t fussed with mimicking Bergman and his own legendary cinematographer Sven Nykvist: undoing any temptation towards expressionism and heavy shadows, their preference is a more matter-of-fact, natural image. I didn’t take to Bergman Island enormously on the level of dramaturgy, story, or characterization, but the special eye of director Mia Hansen-Løve is very much evident in her English-language debut. Did I forget the seamless transition from recording studio to nighttime street, tracking and zooms intermingling so neither suppresses the other? – Nick N. And if it’s hard to imagine Annette looking any way but how Leos Carax and Caroline Champetier have orchestrated, perhaps that’s because the film looks every way-its allusions range from cinema’s nascency ( L’atalante) to its death (Netflix comedy specials), its expansions into musical theater and opera undergirding the constituent elements that bind them with film as an expressive medium. – Erik N.Ī perfect expression of its script, in that nearly every shot balances on the uneasy real-fake zone of Ron and Russell Mael’s insane concept. Andersson’s aesthetic choices give the film a sense of transcendence while uncovering the dark humor of everyday life while still looking gorgeous, lending a style unique to itself.
BEST CINEMATOGRAPHY BOOK SERIES
The film’s use of static one-shots over a series of vignettes paints life in a period of stasis. Working with close collaborator Gregory Palos, director Roy Andersson rids About Endlessness of any color contrast (there are almost no shadows too) to create a surreal but superficial uniformity implying the banality of everyday tasks. From talented newcomers to seasoned professionals, we’ve rounded up the examples that have most impressed us this year.
As we continue our year-end coverage, one aspect we must highlight is, indeed, cinematography.
BEST CINEMATOGRAPHY BOOK MOVIE
“A cinematographer is a visual psychiatrist–moving an audience through a movie making them think the way you want them to think, painting pictures in the dark,” said the late, great Gordon Willis.
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