The opening section alone evokes this seeming contradiction: Hu's
constant camera motions, cutting judiciously to closer and closer views of the central fort, tease out so much of the haunted textures that define roughly two - thirds of the film, but crucially never come close to spelling out the layout of the structure.
Not exact matches
There's a beguiling serenity about all the slow -
motion space movement that is slyly undermined by some clever positioning of the
camera to convey the sense of Keir Dullea (Mail Order Bride) and Gary Lockwood (The Magic Sword, They Came to Rob Las Vegas) being under
constant scrutiny on the ship.
The Post is a film that feels in
constant motion, where the
camera is often hurtling forward to catch up to the drama, which here takes the form of heated negotiations between Post publisher Katharine Graham and her editor Ben Bradlee around the ethics and efficacy of continuing to publish the Papers after the Times had raised the ire of the Nixon administration.
The
camera remains in nearly
constant motion, though not in a distracting, hyperactive sense.
The
camera capturing this zips along at a good pace, moving left to right in a tracking shot, meaning one side of the image is in
constant motion and the other is almost still: an unusual and highly interesting effect.
There's still no close - ups or any kind of traditional editing, but the
camera is still in
constant motion (much like it is in Noah Baumbach's classic Kicking And Screaming (# 4, 1995), just out on a very nice Criterion DVD).
The
camera in Mambo is in
constant motion, floating back and forth, up and down as it traces the remembered life of a depressed young woman, but it never moves in or out: it can't get any closer to her, and can't pull away.