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How the Horror in “Nanny” is Surreal and Real
Nikyatu Jusu’s debut feature “Nanny” is a tale of displacement, following an undocumented immigrant’s quest to realize the American Dream.
“Bad Travelling:” Blur and David Fincher Rewrite the Rules for Animation
Grotesque and dark visuals were just the start for director David Fincher’s first foray into animation for “Love Death & Robots: Volume 3.”
“The Northman:” Vengeance Is Exhausting and Muddy
With “The Northman,” director Robert Eggers battles with himself to deliver the definitive Viking movie.
When Truth Is Way Stranger Than Fiction: How “Landscapers” Escapes Into Fantasy
New HBO limited series shot by Erik Alexander Wilson, BSC is based on a true crime story originating from England in the 1990s.
Amarcord: Paolo Sorrentino Remembers in “The Hand of God”
Cinematographer Daria D’Antonio employs the RED Monstro with ARRI Signature primes for director Paolo Sorrentino’s love letter to Naples.
Savage Beauty: Jane Campion Understands “The Power of the Dog”
Cinematographer Ari Wegner employs the large-format ARRI Alexa Mini LF paired with vintage lenses for her collaboration with Jane Campion.
“Eternals” and Director Chloé Zhao’s Independent Spirit
“Nomadland” director Chloé Zhao is just the latest indie filmmaker tapped to helm a new entry into the Marvel Cinematic Universe.
How Black and White Brought Poetry to Rebecca Hall’s “Passing”
For her debut feature, director Rebecca Hall and DP Eduard Grau employ black-and-white, low-res photography with a focus on the characters.
Because Black and White Is Also a Color
Cinematographers for “Belfast,” “Passing” and “The Tragedy of Macbeth” weigh in on the use of black and white as an aesthetic choice.
“Bergman Island:” Scenes (and Dreams) (and Screens) from a Marriage
Cinematographer Denis Lenoir wrestles with film formats during production of director Mia Hansen-Løve’s “Bergman Island.”
The Density and Darkness of Paul Schrader’s “The Card Counter”
Cinematographer Alexander Dynan employs the ARRI Alexa LF for his most recent collaboration with writer/director Paul Schrader.
“No Time To Die:” It’s Bond and Also Beyond Bond
Director of photography Linus Sandgren employs the Panaflex Millennium XL2 for his collaboration with director Cary Fukunaga on Bond 25.
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