Hayter takes
a different cinematographic approach — speed ramping, dizzying superimpositions, hyperactive step - by - step montages, hyper - stylized lighting — to every stage in this rush of exposition without ever sacrificing a clear sense of cause and effect, and the result suggests some unholy hybrid of the aesthetic and genre indulgences of Michael Bay and the hyper - literalist plot construction of Christopher Nolan.
That film is the story of several characters with particularly diverse sexual orientations, and it uses sex in
different cinematographic forms because it's simply too interesting to leave to porn.
Not exact matches
How can we read these
different artistic approaches against the backdrop of current genre - crossovers, commercial orders and the
cinematographic tradition itself?
In this experimental, quasi-narrative film, which features writer / poet Anne Carson and actor Stephen Dillane, Dean has gone so far as to combine multiple «scapes» and events within the single film frame, therefore, mixing
different places, geologies and seasons into a single
cinematographic image.