Tag: cinematographer

Review

Oppenheimer (2023)

Cillian Murphy as J. Robert Oppenheimer in OPPENHEIMER, written and directed by Christopher Nolan

The Best Picture favourite going into awards season is none other than Chrostopher Nolan’s nuclear epic, Oppenheimer. Spanning the life and career of Robert J. Oppenheimer, the “Father of the Atomic Bomb”. Starring Cillian Murphy in the titular role, Oppenheimer is a three-hour insight into the work and personal life of one of the most controversial figures in modern history.

Written and directed by Christopher Nolan, Oppenheimer is based on the biography, American Prometheus by Kai Bird and Martin J. Sherwin. Nolan’s unique perspective stemmed from the writing process as the entire screenplay is written from the first-person. This exacerbates the fact that Oppenheimer provides a limited view as the titular character is in almost every scene. The film flits between key points in Oppenheimer’s life spanning his beginnings as a budding physicist to the aftermath of the nuclear bombings on Hiroshima and Nagasaki. Nolan’s direction feels controlled and focused, his passion for the project coming through in every frame.

As the titular character, it can be argued that Oppenheimer lives or dies from the Cillian Murphy performance. Murphy can always be trusted to bring a nuanced performance. His turn as Oppenheimer is so intimate and yet always holding the audience at a distance. Seeing his internal conflict between the scientific achievements and the ethics rise to the surface in the final act is gripping. The scene in which Hiroshima has been been bombed and Oppenheimer begins to envision corpses on the follow among the ruptuous applause from his colleagues is one of the best scenes in any Nolan film.

Providing a standout performance in support is Robert Downey Jr. Having dominated cinema screens for the past decade as Iron Man in Marvel Cinematic Universe, Oppenheimer may be the first project a lot of people have seen Downey Jr outside of the franchise. The performances couldn’t be more different and sees Downey Jr return to form. Playing the antagonistic Rear Admiral Lewis Strauss who is hellbent on taking Oppenheimer down, he commands every scene he is in. His scenes with Murphy are among the best in the film and it’s up there with his other phenomenal turns in films such as Chaplin and Tropic Thunder.

Cillian Murphy is J. Robert Oppenheimer in OPPENHEIMER, written, produced, and directed by Christopher Nolan.

There are a plethora of supporting turns in the film that are impressive. Another that is garnering a lot of attention is Emily Blunt as Katherine “Kitty” Oppenheimer. One consistent critique of Nolan’s previous films are the lack of female characters. When there are female characters, they tend to be underwritten. Kitty is probably the most in-depth female character that Nolan had included in his filmography. Blunt’s performance is subtle and brilliant, especially towards the end when her anger at the government is evident following their dismissal of her husband.

The score by Ludwig Gorrenson captures in the inevitability of the bomb. Filled with dramatic crescendo and loud bombastic sounds, Gorrenson’s music becomes a dominant force during the film’s climactic scenes. The opening track “Fission” really highlights the anticipation and inevitable change in history. Gorrenson isn’t afraid to change the tone and pacing of tracks to emphasise the unpredictability and shift in dynamics and events.

The cinematography by Hoyte van Hoytema is stunning. The standout scene in the film is when the Trinity Test is carried out and this is thanks to van Hoytema’s incredible work. The focus on Oppenheimer as he waits for the results swiftly followed by blinding light marks a visual change in the film. The scenery in Oppenheimer consists largely of open spaces but there is such a pinpointed focus on the characters that it really closes the environment in towards Murphy and his performance.

Overall, Oppenheimer does have a runtime that could have been edited down ever so slightly, especially in the first act. However, it is also one of Nolan’s best films as director. His passion and knowledge on its subject piercing through every frame from beginning to end. It is a film filled to the brim with details and nuanced performances that makes it easy to see why it is garnering so much critical and commercial praise.

What did you think of Oppenheimer? Let me know in the comments below!

Review

Anatomy of a Fall (2023)

One of the most exciting inclusions in the upcoming awards discussion is Anatomy of a Fall. Winner of the Palme d’Or at the 2023 Cannes Film Festival, the film follows novelist Sandra Voyter (Sandra Hüller) who is accused of murdering her husband, Samuel (Samuel Theis). Making use of the French Alps setting, Anatomy of a Fall is a film that perfectly balances open space with a claustrophobic feel.

Directed by Justine Triet who co-wrote the screenplay Arthur Harari, Anatomy of a Fall is captivating from beginning to end. Triet’s direction has a timeless quality, drawing inspiration from classic crime dramas with the use of close-ups. The surface plot regarding Samuel and his death serves as a door into Sandra’s character and her life. Triet’s triumph at Cannes is well-deserved, becoming the third woman to take home the Palme d’Or.

Sandra Hüller provides one of the best performances of the year as Sandra. The role was written with her in mind and this is made clear beyond the name. Hüller slips into the character of Sandra seamlessly, encapsulating every essence of her being. There is a wonderful subtle quality to the performance that leaves the audience unsure as to what she is thinking. It also cannot go unnoticed that Hüller also excels in another 2023 film in Jonathan Glazer’s The Zone of Interest. Both films received top prizes at Cannes (The Zone of Interest received the Grand Prix which is often regarded as second place) and this is thanks in large part to Hüller’s ability to really connect with her characters and provide layers and layers to her performances. The argument scene between Sandra and Samuel in particular is an acting masterclass and should earn Hüller nominations across the board with potential wins.

Swann Arlaud is fantastic as Sandra’s lawyer, Vincent. Anatomy of a Fall is undoubtedly Hüller’s film but the character of Vincent is essential as we learn so much about Sandra’s background through their conversations. Arlaud’s performance feels natural and serves as the audience’s way into understanding the mechanics of both the main plot and also learning more about Sandra and her struggles.

One of the standout performances in the film is Milo Machado Graner as Sandra and Samuel’s son, Daniel. Although his role is relatively small, he does a brilliant job, especially for a child actor. Like Sandra, Daniel keep his cards close to his chest. We see him vent his emotions through piano practice and sense his frustration and upset at the situation. It’s great to see Graner receive recognition for his wonderful performance.

The cinematography by Simon Beaufils is stunning in every setting. From the open landscapes to the chalet interior, Beauflis’ work captures seemingly idyllic and scenic images in a way that subverts these qualities and feels claustrophobic and uncomfortable. The use of natural light allows the vulnerability of the characters to shine through while the openness of the mountain range contrasted with the smallness of the chalet captures the overall mood of the film.

Overall, Anatomy of a Fall is a film that commands your attention. The writing is impeccable and Hüller leaves you hanging on every word. If only France had submitted this film for the Academy Awards it would have been the frontrunner. However, it would be a surprise not to see Anatomy of a Fall included in some major categories on nomination day, especially for Sandra Hüller’a magnificent performance.

What did you think of Anatomy of a Fall? Let me know in the comments below!

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The Lighthouse (2019)

Robert Eggers’ follow-up to 2015’s The VVitch is a mind-bending mesh of chaos, insanity and broken masculinity. Starring Robert Pattinson and Willem Dafoe as two lighthouse keepers who are stranded on the island after a storm hits, The Lighthouse shows the men’s mentality break and crumble in a fashion never before seen on film. Co-written by Eggers and his brother Max Eggers and inspired by the unfinished short story “The Light-House” by Edgar Allan Poe, The Lighthouse is a brilliant look into madness and mayhem from the outset as the protagonists drink themselves into oblivion when a storm hits. Distributed by the illustrious A24, the film has become instantly iconic for it’s beautiful cinematography, brilliant screenplay and magnetic performances. It is a film that commands attention from the outset and despite it’s simple plot, it is sublimely complex and groundbreaking. Eggers has proven yet again that he is a filmmaker to watch. More like his contemporary Ari Aster (Hereditary and Midsommar), Eggers is bringing a new perspective on the horror genre. His films are not afraid to be gory and disgusting in a different way while also bringing in dark humour and aspects of magic realism. Incorporating sea folk such as mermaids and sea monsters in a space where they are clearly fantasy to begin with but slowly slip into the reality and getting to the point where their existence could be argued.

Robert Pattinson proves that he is on a promising streak of strong performances following his stellar turn in Claire Denis’ erotic sci-fi High Life (you can read my review here). Pattinson plays Ephraim Winslow, a newbie to the lighthouse keeping game who is put to strenuous tasks by the elder Thomas Wake. When he finds a mermaid ornament hidden in his mattress, Winslow becomes fascinated by the eroticism that the sea has and becomes sexually obsessed to the point where his fantasies and realities collide. Even he doesn’t know what is real by the end of the film. The events in the film act as an awakening for Winslow as well as proving to be his demise. He’s a character who never feels settled and is clearly out of place in the job. His inability to understand why what they do is important and Wake’s reluctance to allow him to see the light actually prove to be motivators for Winslow as he doesn’t allow the job to overwhelm him. Pattinson’s character is manic, quiet and calculating at the same time and I think this film is solid proof of how far he has come from his Twilight days. Considering he found fame in a mainstream franchise and will be starring as the titular character in the new Batman film, I think starring in indie films like The Lighthouse shows Pattinson’s passion and his desire for good characterisation and artistic growth.

Willem Dafoe gives a flawless performance as is expected. Undoubtedly one of the best working actors today, Dafoe’s portrayal of the elderly Thomas Wake is a revelation. He is boisterous and unafraid to stand his ground, having no trouble delegating all the hard work to his companion. At the same time, there are many moments when Wake will change his stories and claim that the stories haven’t changed at all. It’s a role that requires fearlessness which is something that Dafoe has in spades. Known for his controversial roles and ability to play any character to perfection, Dafoe manages to reach yet another career best which is amazing considering the performances he has pulled off the past few years, particularly his turn in The Florida Project. What differs with his performance in The Lighthouse, however, is that this role feels more fantastical and removed to how we usually see Dafoe and the result is immense. I firmly believe that he was deserving of Supporting Actor nominations through awards season but it wasn’t to be as The Lighthouse was shut out from most categories. I think what Dafoe does brilliantly is challenging himself and showing time and time again just how much range he has as a performer. Wake is a despicable man who takes advantage of his protegee and yet he is captivating, incomprehensible and misunderstood.

The score by Mark Korven marks his second collaboration with Eggers after providing the eerily fantastic music for The VVitch. Created in a similar vein to the aforementioned, the score for The Lighthouse is clearly inspired by old maritime songs and merged with traditional horror tones. The result is a suspense filled mesh of mayhem that stands out clearly against the black and white backdrop of the film. It feels timeless and yet not suited for any time with its standoffish tone. There are many jarring string pieces that are like the tempting siren but then contrasting with the stormy surrounding and building tension as the relationship between the protagonists becomes more unbearable. Looking back, this has been a fantastic year for movie scores and even among all the best soundtracks, The Lighthouse proves to be equally simple yet effective, heightening the viewing experience.

I think this is a film that has the potential to go down as a horror classic. It feels experimental and brave, pushing the boundaries on film-making through the use of its contrast between simplicity and complexity. It’s a horror in many ways from its gore to its mental abusive nature and the inability to trust in its lonely characters makes it a nail-biting experience. I think it’s a real shame this was locked out of almost all categories but glad that Jarin Blaschke was recognised for his phenomenal cinematography. The Lighthouse has proven to be a marmite film among film lovers but it is a deeply rewarding experience and the vision is executed beautifully. It’s a film that I look forward to viewing again and again as I think I’ll notice even more elements that I admire. It makes me keen to see where Eggers’ career will take him next and eager to see if he continues with his great collaborations.

What did you think of The Lighthouse? Let me know in the comments below!