Cinematography is an art form that can be as bold as a gong crashing after a moment of silence, or as subtle as the tide coming in. It is something that elevates a film to the heights of accolade or turns a film into a frustrating mess when it misfires.
While at the heart of cinematography is the Director of Photography or Cinematographer, to get something from the script to the final shot takes a whole team of professionals, and it is their talent that we champion today.
So without further ado, these are the moments of cinematography that took our breaths away in 2019. Be warned that there may be some slight spoilers ahead for the films in question. Also, click on the banners to be taken to the full reviews.
TL;DR – This is a list of not what we think will actually win in today’s 2020 Academy Awards, but who we would give the awards to if we could
It is Oscars time again, and for the first time in a long time I can’t watch the ceremony live, but that does not mean I can’t enjoy the vicariously through the form of an article. So here we will be going through all the nominees and picking which ones we would have picked if we were a voting member of the academy.
Now, I should preface this with the notice that we have not seen every film nominated, so we will only be picking form those we have seen. To be fair, we will only be covering the categories where we have seen at least three of the nominees. Also, if you would like to see our reviews for said films you can clink on the links to be taken to them. So with out any further prattling on here are the nominees.
I actually quite liked all the nominees in this category, even the films that didn’t quite grab me like Once in Hollywood and Marriage Story you could tell was still well written. However, I think one did just make it out on top and that has to be Bong Joon-ho & Han Jin-won exploration of class and wealth in modern South Korea.
TL;DR – A beautiful look at how the pain of the past can define us even when we don’t know that it is happening.
Score – 4 out of 5 stars
Post-Credit Scene – There is no post-credit scene
Walking into this film I didn’t know what to expect, I knew it stared Antonio
Banderas, but not a whole lot else. Indeed, I think that was the same for a lot
of the people sitting around me, with one person mentioning that they “hoped it was more glory than pain.”
However, as the film went on it became clear that this was a film about how
pain and glory can find themselves intertwined.
So to set the scene, Salvador Mallo (Antonio Banderas) was once a famous film
writer/director in Madrid, but these days he spends most of his time in his
house alone with his painting and his thoughts. Over the years his body has
slowly been causing him more and more pain culminating in major back surgery
that he has never really gotten over. Being a filmmaker was everything to him
and now when he can’t physically do it anymore he has lost his purpose for
life. One day he is contacted by a local cinema who has remastered Sabor one of his earlier films and they
have asked him and the lead actor Alberto Crespo (Asier Etxeandia) to come to
host a Q&A. The only problem is that Salvador has not spoken to Alberto in
30 years. But more than that, this event starts dredging up the past in all its
beauty and dysfunction.