New York, NY, Monday, December 21, 15 — This winter, the French Institute Alliance Française (FIAF), New York's premiere French cultural center, presents Lhomme Behind the Camera, a new CinéSalon series honoring Pierre Lhomme, the pioneering cinematographer whose beautiful
camerawork helped shape the careers of iconic directors including Chris Marker, Jean - Pierre Melville, and James Ivory.
Frequently dynamic
camerawork helps to elevate this feature above its contemporaries in the genre.
Not exact matches
It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding
camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around
helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.
Though the movie takes place in the homes of two seventeen - year - old women, intricate
camerawork and editing using shot - reverse - shot techniques to close in on first one speaker and then the next
help to open the play for the big screen.
This won't replace the 1939 Laurence Olivier - Merle Oberon classic as the definitive screen take, but Arnold's atmospheric direction and the stunning
camerawork by Robbie Ryan (who won several international awards for his lensing)
help counteract a certain degree of lethargy in a respectable retelling that fails to scale any new heights.
It doesn't
help that some of the clumsiest
camerawork takes place right at the start, in which a conversation between Alexandra and her best friend and colleague, Sin - Dee (Kitana Kiki Rodriguez), is chopped into an awkward, shot - reverse - shot sequence (the widescreen lens isn't helpful in the interior scenes).