The scene I am referring to starts around 2:58:27. The film Malcolm X by Spike Lee takes the viewer on an incredibly dense and layered visual journey, spanning audio-visual cues that weave in and out of the realm of diegesis, space and time. The film deals heavily with a time period where African Americans were treated as second class citizens in the United States, from World War 2, all the way to the Kennedy era. Although black Americans now are…
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Moonlight 2016
Moonlight is one of the best films of the last decade, due in part to the vignette style, the relaxed mise en cine, and the amazing performances of all of the actors who portray Chiron, and Mahershala Ali as well. The last actor who portrays Chiron, Trevante Rhodes, embodies the deeply hidden desires of his character so well, but in the end, cannot help but to release those desires.
While I have not seen any other of Barry Jenkin’s films,…
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Death in Venice 1971
Death in Venice by Visconti is a masterclass in visual medium, using Venice as the stage set for the decay and disease of the cholera outbreak depicted in the film. The scene that most struck me was around the 1:27:16 mark, which deals with the breaking of the rule of thirds in film composition.
The rule of thirds dictates that some of the most powerful film composition comes in the form of character placement, and that if the screen is…
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The Conformist 1970
The Conformist seems to be a big conceptual break in the realm of art-cinema, in the many ways that Restivo mentioned, mainly in the aesthetic hyperreal quality of the image.
I want to discuss one of the ending scenes, which was shot on the Ponte Sant’Angelo, or the Sant'ngelo Bridge. This bridge is flanked by a series of androgynous angels in dramatic poses, which appear to be carrying different objects related to the passion. They stand tall and imposing over…
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