TIFF: Florence Pugh in ‘The Wonder’

By Abe Friedtanzer

 

It’s much easier to expose a lie in today’s technology-driven world than it was in past centuries, when something that seemed supernatural or inexplicable might have been taken at face value rather than properly investigated. The Wonder, based on the novel by Room screenwriter Emma Donoghue, centers on an eleven-year-old girl in Ireland who hasn’t eaten in four months yet somehow remains alive and well, and the town committee that brings in an observer with the apparent purpose of verifying some sort of divine intervention rather than unveiling a deception…

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Oscar Volley: Best Cinematography, Half-Locked, Half-Not?

Continuing our Oscar Volley series at The Film Experience. Eric Blume, Elisa Giudici, and Glenn Dunks talk Best Cinematography. 

Greig Fraser shooting Timothée Chalamet in the desert for Dune (2021)

Eric Blume:  Glenn and Elisa, Do we all agree that we probably have two "locks" for Best Cinematography nominations:  Delbonnel for The Tragedy of Macbeth, and Greig Fraser for Dune?  Those feel like two very worthy nominees to me.  While I think Joel Coen's conception of his film is limited and flawed, I admired Delbonnel's execution of Coen's concept, really leaning into that austere Calvinist guilt like we got in Carl Theodore Dreyer movies, and stealing from Sven Nykvist's framing in Bergman movies...yet netting out in its own unique visual scheme to highlight those sets and costumes.  And I thought Fraser's work made Denis Villeneuve's arid sci-fi epic surprisingly sensual, which helped the film (which is dense and heavy) enormously by taking you out of your head sometimes and back to your senses. Do you think both are locks?  What are your thoughts on those two, and their closest challengers... 

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