Sentences with phrase «about cinematography as»

We hope to inspire young and old to be as passionate about cinematography as we are and look forward to supporting your growth in the industry.

We hope to inspire young and old to be as passionate about cinematography as we are and look forward to supporting your growth in the industry.

Not exact matches

By the end, however, it becomes such an exercise in sensibility - testing brutality that any message about the fragility of the family unit is as murky as the cinematography.

Everything about the film is first - class: Benoit Delhomme's cinematography, John Paul Kelly's period production design, Johann Johansson's score, and the contributions of such fine actors as David Thewlis, Emily Watson, Simon McBurney, Charlie Cox, and Maxine Peake.

There are joys to be found in the beautiful cinematography, though it is this film's misfortune to have been released in the same year as Life of Pi, a film which showed us just how stunning a film about a drifting boat can be.

Refn recently chatted with The Dissolve about the films that served as milestones in his life, and the soundtracks and cinematography that most left a mark on his work.

While Thomas W. Kiennast's black - and - white cinematography is quite beautiful to behold (Gröning's film certainly features some excellent cinematographic moments as well), Atef's film never manages to convey why we should care, today, about this brief moment in Schneider's well - documented life, including her never - ending struggle with the German press, her inability to escape the role of Sissi that made her instantly famous as a teenager, and the various tragedies that befell her, including the suicide of her ex - husband.7 The film is not a biopic per se (and Atef declared that she did not intend to make one): thus, audiences who are not already familiar with Schneider certainly will not come away from viewing the film with much of a sense of her life's story); yet, given it is not a biopic, one wonders what the film is, or what it tries to accomplish.

The spare cinematography burns bright and harsh in southwest sunlight that simmers the already edgy relations and Hellman directs the ambiguous script with always surprising flourishes, keeping the audience in the dark about the true nature of the odyssey as the characters talk around the conflicts as they warily eye one another.

As if it weren't obvious from the above, I'll admit I'm just excited about Deakins» cinematography here as I am for the entire film, and I need it NOAs if it weren't obvious from the above, I'll admit I'm just excited about Deakins» cinematography here as I am for the entire film, and I need it NOas I am for the entire film, and I need it NOW.

Blackhat is a globetrotting physical journey all about the intangible movement of data, ostensibly factual pieces of code and information that Stuart Dryburgh's half - crisp, half - blurred digital cinematography points out as filled with half - truths and interpretative subjectivity.

It's like saying that Drive is just about a getaway driver — it's not and for anyone who's seen it will know that the languid pace, the cinematography, the mood and the score are just as important to the film as any plot developments.

The film rates this high for me not just because of its technical skill (the ensemble acting is terrific, with Kelly Macdonald in particular doing great work in just a few scenes, and Roger Deakins's cinematography is as good as anything he's done with the Coens, and that's saying a lot) but because of its ambiguity: because the questions it raises about narrative and about society are as interesting as those raised by any other film (but one) of 2007.

But thanks to Dean Cundey's cinematography, it's one of the most elegant - looking horror pictures ever made, with views of the Pacific from the lighthouse home of the KAB radio station (from where Adrienne Barbeau as DJ Stevie Wayne warns the townspeople about the fog) that are so intensely painterly they pop.

When Amy (Mila Kunis) opens the movie with an immediate barrage of exposition - dump narration about the two kids she had young and the challenges she faces as a working mother, the clunkiness feels believable, in its way: She doesn't have time to engage in graceful visual storytelling, especially not with the soft - focus, washed - out cinematography.

OK, but statements like that needs some evidence behind it, and apart from references to «grand cinematography» and references to Phoenix and Hoffman as «likely Oscar nominees» who «command the screen,» it's difficult (for me, at least) to get a sense of what the reviewer thinks the movie is about, or what's so special about the picture.

In the conversations about how to capture what Beachler was concocting on film Morrison — who made history this year as the first woman to be nominated for the cinematography Oscar for her work on «Mudbound» — said Coogler referenced a variety of inspirations including Ron Fricke's nonverbal «Baraka» and «Samsara,» «The Godfather,» «Sicario» and «The Dark Knight.»

Crossfire Edward Dmytryk, USA, 1947, 35 mm, 86m This adaptation of writer / director - to - be Richard Brooks's novel The Brick Foxhole, about a group of vets, led by Robert Mitchum's Sergeant Keeley, searching postwar Washington for their amnesiac friend (George Cooper) so they can clear him of a murder charge, embodies the essence of what has come to be known as «film noir» — moody, troubled characters; nocturnal action; chiaroscuro cinematography; low - key acting spiced with bits of bravura eccentricity; and a plot so crazy that it feels like a nightmare.

Technically, the cinematography, in real nighttime conditions (about 75 % of the film is shot in darkness), is hypnotic (the only visual flaw of the film is a too obvious imposition of a rock face that is illuminated in a lightning strike as the doctor urinates), and cinematographer Gokhan Tiryaki gets major kudos, but, even more so is the almost nonexistent soundtrack, whose power is palpable, and shows how utterly superfluous most soundtracks are.

A directing award is not the same as a cinematography award (about which more shortly).

On a much more technical level there's plenty to praise about The Handmaiden too: regular collaborator Chung - hoon Chung's cinematography is as gorgeous as ever; delicate where it matters and fantastically pulpy in equal measure.

As a film about rock music, it has an excellent soundtrack, and it certainly deserves points for cinematography.

The way the film presents the island though immaculate cinematography is a sight to behold, feeling both curious and familiar as we explore the wartime history through the members of the society whilst also uncovering mysteries about the members.

He's acclaimed for his cinematography and art direction work with musician Jack Johnson, as well as for his beautiful short films, such as «Tranquil Music,» about the summery musical vibe in a pre 9/11 NYC, «The Half Way Tree,» a tale of Jamaican surfing made with Dan Malloy, «Oxfam Make Trade Fair,» documenting Minnie Driver's trip to Cambodia to raise awareness on sweat shop labor.