Skip to main content

 



Yorgos Lanthimos is the Oscar-nominated director of "The Lobster" and "Dogtooth". His movies generally deal with characters pushing the boundaries of the systems around them. In "Lobster" he envisions a world in which being single is illegal and lawbreakers are transformed into animals of their choice. While that may sound absurd, it’s also typical for Lanthimos.

"So this film, for me, was mainly about having a certain kind of voyeuristic look to it. 
We decided to just try and keep the camera as much as away from the actors as possible and not have it in their face. 
Usually we had the camera either lower or higher than their eye lines. We used long lenses, and a few times very wide-angle lenses—extreme choices. We created a visual language that we felt was particular to this film." 

Thimios Bakatakis’ cinematography captures through deep-focus shots, muffled sepia-like colours and wide angle shots the sombre mood and the lugubrious atmosphere of the story, while moving constantly between closed and open spaces or dark and grey surfaces. The flattening of the image makes the film look like a surrealist painting, especially in the scenes in the wood, creating a space of oneiric displacements: The animals become symbols, not of failed humans but of frustrated desires. The film is about desire without a name or object to be projected upon – a self-consumed blind libidinal drive.

Sources steemit, filmiconjournal














 


Labels:

Comments

Post a Comment

Popular posts from this blog

  Based on the 1952 novel The Price of Salt, Carol tells the story of the relationship between two women, an aspiring photographer and an older woman going through a messy divorce in the 1950s. Director Todd Haynes brings the intimacy and the sensitive to the story with the help from cinematographer Edward Lachman. Lachman, who has worked with Haynes on Mildred Pierce, I’m Not There, and Far From Heaven, has brought his own distinctive style to the film with his choice to use Super 16mm instead of going the digital route. It’s not the first time that Lachman and Haynes went the 16mm route, the duo also used the same camera for the HBO mini-series, Mildred Pierce. By employing the use of a camera that’s unusual in most Hollywood films, Carol stands out among the rest, cinematography-wise. Deciding to stick with film for Carol, the cinematographer wanted to invoice the atmosphere and the feeling of the 1950s and the movies that came out during the time. Sticking with Super 16mm, Lach...
Post a Comment
Read more
  Emmanuel Lubezki for Birdman "The whole movie was thought-out to be shot, the way it is shot. It’s not something that happened posteriorly, it was how Alejandro wrote the movie. His other movies are very cutty, sometimes he uses multiple cameras. His movies are wonderful and beautiful, but he wanted to do something different with "Birdman." I don’t think we could have done this movie a year or two years ago. The ALEXA camera and the ALEXA M especially, allowed me to do handheld for so long. The fact that you can record media for so many minutes and also that the video system gets an image that is so clear for the director…It allowed us to do the movie. Otherwise, I think it would have been probably close to impossible. I wanted the movie to look as naturalistic as possible. We did not use movie lights. It’s all light bulbs. All the lights that you see in the set are the lights that are lighting the scene. These cameras allow us to do that because the dynamic range of t...
Post a Comment
Read more
  The movie Fargo, released in 1996 and directed by Joel & Ethan Coen, was shot on film using ARRIFLEX 35 BL4 Camera and Zeiss Standard Speed Prime Lenses with Roger Deakins as cinematographer and editing by Ethan & Joel Coen. "It was fun for all of us and a relief in a way. It was back to working with each other and a small crew in a very controllable environment, which was similar to how we had done Barton Fink. On Hudsucker, Roger had to essentially oversee four different units: the main unit, the second unit, the bluescreen unit, and the miniature stuff." says Joel Coen.   Early on in Fargo's pre-production, the Coens had meetings with Deakins to discuss and solidify the visual style of the film. "We always involve Roger very early," notes Joel. "Basically, what we do after we finish the script is sit down with him and talk in general terms about how we were thinking about it from a visual point of view. Then, in specific terms, we do a draft of...
Post a Comment
Read more