Poor Things presents itself as a straightforward work. The term "radical" has become the common description that people use to describe this concept. Liberating. Feminist Frankenstein reimagining, whatever. But the color story here tells you everything, actually betrays the whole conceit before you even realize what's happening. Black and white London. Obvious enough. The city […]
Saltburn puts on such an intense seduction show that it becomes embarrassing to observe because it resembles someone overexerting themselves at a social gathering where others seek the restroom. And yet. There's something about watching Barry Keoghan slurp bathwater that commits so hard to its own depravity you almost, almost respect it. The movie begins
Look, everyone wants to talk about how this film mourns the Osage, but can we discuss how beige everything gets when Ernest arrives? The palette shifts from those gorgeous oil-soaked blues and blacks to this oppressive dusty nothing, and it stays there for three and a half hours. Actually, that's unfair. The oil fountain sequence
Barbie. Pink. The excessive pink coloration creates a visual effect that sears itself into your eye retina because Mattel designed it to achieve this specific result. The film by Greta Gerwig contains an element which continues to disturb me. The pink color represents more than its surface appearance. The color scheme of Barbie's dream house
That hat. I need to talk about the hat for a short period of time. The porkpie hat which Cillian Murphy wears throughout Oppenheimer appears grayish-taupe under different lighting conditions. The camera work by Hoyte van Hoytema appears deliberate in his depiction of the hat. Too intentional. The brim never moves. Never. Even when the
Aftersun reaches its peak when Sophie points a camcorder at her motionless father who sits in the Turkish hotel lighting. Calum doesn't want to be filmed. Keeps turning away. The camera insists. Actually, that's the whole film. Charlotte Wells handles memory as if it were shattered glass which reveals its jagged parts while showing light
Beige is a vastly underrated color. The camera in Östlund's film presents yacht luxury through a Pantone commercial lens which has turned rotten after its colors of cream and white and champagne gold display wealth before they get stained. We'll get there. Actually, wait. No. The fashion show displays "Everyone's equal" as its first message
The following is a statement about gray. Field shoots Berlin like it's made entirely of concrete and rain, which somehow works perfectly for what's happening to Lydia Tár. The opening scene of the film shows her teaching Gopnik about time. "Time is the thing," she says, and you get this moment where Blanchett's face does
The thing about Edward Berger's All Quiet on the Western Front is that it looks exactly how you'd expect a prestige war film to look in 2022. Which, fine. The use of perfectly arranged camera angles to show teenagers getting destroyed creates an uncomfortable viewing experience because the artistic precision of the shots makes the
