“A cinematographer is a visual psychiatrist — moving an audience through a movie […] making them think the way you want them to think, painting pictures in the dark,” said the late, great Gordon Willis. As we continue our year-end coverage, one aspect we must highlight is, indeed, cinematography. From talented newcomers to seasoned professionals, we’ve rounded up the examples that have most impressed us this year. Check out our rundown below and, in the comments, let us know your favorite work.
All These Sleepless Nights (Michal Marczak, Maciej Twardowski)
Using the combination of a Steadicam and computerized gimbal, Michal Marczak and Maciej Twardowski float in and out of crowded dance floors, house parties, lush gardens, and sun-kissed beaches, all in a way that would make Emmanuel Lubezki proud. Coupled with a near-constant soundtrack of the latest in electronic and pop (as well as a Polish version of Pocahontas‘ “Colors of...
All These Sleepless Nights (Michal Marczak, Maciej Twardowski)
Using the combination of a Steadicam and computerized gimbal, Michal Marczak and Maciej Twardowski float in and out of crowded dance floors, house parties, lush gardens, and sun-kissed beaches, all in a way that would make Emmanuel Lubezki proud. Coupled with a near-constant soundtrack of the latest in electronic and pop (as well as a Polish version of Pocahontas‘ “Colors of...
- 12/21/2017
- by The Film Stage
- The Film Stage
Burgeoning sexuality is the basis for nearly all coming-of-age films, but with her specific eye, Eliza Hittman makes it feel like we’re watching this genre unfold for the first time. With only two features to her name, she’s captured the experience with a sensuality and intimacy nearly unprecedented in American independent filmmaking. Following 2013’s It Felt Like Love, the writer-director follows it with another look at the teenage experience in Brooklyn for this year’s Beach Rats, this time with a protagonist five years older and of a different gender.
We first meet the 19-year-old Frankie (Harris Dickinson) as he poses, shirtless, in front of a mirror in his dark basement. Only illuminated by his selfie camera flashes, we see this display of masculinity, then soon learn he stores these photos on a computer, the same one he browses a gay Brooklyn-based webcam/hook-up site. His desires, which...
We first meet the 19-year-old Frankie (Harris Dickinson) as he poses, shirtless, in front of a mirror in his dark basement. Only illuminated by his selfie camera flashes, we see this display of masculinity, then soon learn he stores these photos on a computer, the same one he browses a gay Brooklyn-based webcam/hook-up site. His desires, which...
- 1/30/2017
- by Jordan Raup
- The Film Stage
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