The uncomplicated yet ingeniously knotted plot takes a classic noir murder — a man killing his lover's husband so they can be together — strips away the genre clichés and infuses the film with the introspective moodiness,
dynamic camerawork, unadorned location shots, and stylized but emotionally naked performances that would become a hallmark of the New Wave pictures that followed by Francois Truffaut, Jean - Luc Godard, Claude Chabrol, Jacques Rivette, Eric Rohmer and Malle himself.
Frequently
dynamic camerawork helps to elevate this feature above its contemporaries in the genre.
Not exact matches
There is plenty of interesting
camerawork and I also love the way the film is edited: the storytelling is very
dynamic.
The almost always - moving
camerawork is
dynamic, creepy and almost an additional character.
With wholly magnificent sequences that make sharp use out of natural light (a burning house sequence, a fight in nighttime Shanghai) or utilize precise framing (Bardem's entrance), Skyfall has beautifully stylized cinematography that never rings with pretentiousness; this is
camerawork that labors uniquely to present its
dynamic environments, with the presentation of story coming first.
Formally, the film feels very much in the tradition of latter - day Iranian new - wave humanism, but tempered with a slightly more detached tone (Mortezai's
dynamic but controlled
camerawork — kudos to cinematographer Klemens Hufnagel — often favors behind - the - subject shots, following Ramasan as he stomps through the scrubby forest / dumping ground near the flats, or crosses the busy, noisy playground to bring his sisters home).