I wish it wasn't quite such
a bleak set of films to be celebrating in this of all weeks, but that's just how it worked out.
Not exact matches
Needless to say, this hyper - atmospheric art
film is a little too reliant on its environment, but the deep snow
setting of this lyrically
bleak drama was always going to be instrumental in the establishment
of both tone and aesthetic value, and sure enough, this
film's beautiful environment goes complimented by cinematography by Bedřich Baťka which, while held back by a black - and - white palette, is playful enough in lighting and scope to attract you into this
film's handsome world.
This is one
of the few purely comedic scenes in an otherwise
bleak film, yet it
sets the mood perfectly for a narrative
of displacement, in which a woman tries to find herself in another country's ways.
Less dialogue, more action, and a lot
of bleak landscapes to
set the tone
of the
film.
From the
bleak settings and synth - heavy soundtrack to the hyper - stylized violence and hints
of body horror, this
film would feel right at home next to Carpenter's early output like «Assault on Precinct 13» and «Halloween.»
The first, by George A. Romero, his wife and assistant director Chris Romero (née Forrest) and Tom Savini, reveals that almost all the cast were friends, family or local Pittsburgh volunteers (even the mall was owned by personal friends
of Romero), that the original script had a far
bleaker ending (everybody dies) which was changed during the shoot because the
film was «too much fun» for it, and that the fourth
film, should it ever get made, is a larger - scale affair
set in a down - town area, with lots
of action sequences and an overarching theme
of «ignoring the problem».
After the playful, urban and contemporary humour
of the Oscar - winning «Birdman», this
bleak - faced 1820s -
set frontier western sees Mexican filmmaker Alejandro González Iñárritu return to the darker worldview
of his earlier
films like «Babel» and «21 Grams».