Sentences with phrase «filming wide landscapes»

Cinematographer Charlotte Bruus Christensen has a rich, gothic eye, filming wide landscapes with ominous light, and carefully composed interiors.

has a rich, gothic eye, filming wide landscapes with ominous light, and carefully composed interiors.

Not exact matches

It's the work of that 1970s Italian auteur that this film's meditative pacing, wide - open landscapes and enigmatic protagonist most readily evoke.

Violence and tenderness alike are dwarfed by cinematographer Lol Crawley's wintry wide - screen landscapes, and the film's adults will have to join forces to prevent James from disappearing into them.

Slow West continues the Western's visual convention of wide cinematography — it's a landscape film — and extends it with chopped extreme close - ups during the shoot - em - up action scenes.

Gray's wide shots are among the saddest in contemporary film, and as a result the movie is pervaded by loneliness and resignation — intervals of space, sometimes akin to the ma of Japanese landscape painting.

The real tale is nothing short of unbelievable and Inarritu's film gives it a wide landscape and epic treatment.

It's exciting and comically incisive that the first discernable thing about The Hateful Eight is that it's shot in 70 mm — a wide, uncommon, high - res format — and, after an opening salvo of John Ford - like panoramas of snow - flecked landscapes the story hunkers down into what is essentially a pocketed one - room chamber film.

Rather like an extremely damped - down There Will Be Blood, Reichardt's film — based on historical events — depicts one group's journey through the Oregon Trail in 1845 as a trek through a hauntingly empty and alien landscape, with cinematographer Christopher Blauvelt exquisitely taking in the natural beauties of the settings while framing the increasingly desperate wanderers in wide shots to emphasize, in part, their ultimate smallness within the wild west.

More often than not the film's wide wide shots are more interested in showing the landscape in a notable light than beatifying the actors.

This has extremely wide - ranging implications, but where film criticism is concerned, it has transformed the landscape from a single empire into a myriad of small, frequently warring city - states.»

«Likewise, even though Hou has surrendered his very wide anamorphic frame, he finds ways to balance human action and tangible surroundings in the ways he did with city landscapes and village rooftops in the earlier films.

Through a series of in - depth interviews between writer / director Wes Anderson and cultural critic Matt Zoller Seitz, Anderson shares the story behind the film's conception, personal anecdotes about the making of the film, and the wide variety of sources that inspired him — from author Stefan Zweig to filmmaker Ernst Lubitsch to photochrom landscapes of turn - of - the - century Middle Europe.

This free screening will be followed by a discussion with Steve Wurtzler, associate professor of cinema studies, and Diana Tuite, Katz Curator, about the film's representation of landscape and the influence of wide - screen Technicolor cinematography on the early work of artist Alex Katz.

Themes of exaggerated consumption, film noir and the depiction of women in art, the dystopic American landscape, and the intersection of popular culture and politics, are explored through works by acknowledged masters such as Jasper Johns, Claes Oldenburg, Ed Ruscha, and Andy Warhol, as well as by many artists not traditionally associated with Pop whose art may be understood within its wider field of reference.