Not exact matches
Scorsese and cinematographer Rodrigo Prieto, working with editor Thelma Schoonmaker, try a little of everything visually, and
individual shots are stunning (note the way Neeson enters the
frame in his first
shot, at the boiling waters of Nagasaki).
Whereas the earlier films, mostly
shot by Dietrich Lohmann, often
framed the groups or members of the group in static tableaux in order to highlight their solidarity and opposition to a lone outsider, this film (Fassbinder's ultimate collaboration with Michael Ballhaus) uses an almost constantly moving camera and a remarkable succession of
framing and fracturing devices within the camera
frame to underscore the shifting alliances,
individual isolation, and internal struggles of the characters.
The hyperactive camera found in their earlier works like Raising Arizona and Blood Simple is nowhere to be found here, although the
individual shots are
framed very creatively.
The stunning World War II - era saga follows two Mississippi families, one white, one black, with visuals so rich, beautiful and evocative that many
shots could be
framed as
individual works of art.
It's available in preview mode as you
frame your
shot, and you can further tweak the effect when you're viewing
individual images in your photo gallery.