A Pfeiffer Portrait of Devastating Despair

by Murtada

The year of Michelle Pfeiffer continues. We’ve seen the trailer and pictures from Murder on the Orient Express. We've seen the poster for mother! (sacrilege she’s not on it). We’ve seen her on HBO as Ruth Madoff. And now her Sundance film, Where is Kyra?, made its way to Brooklyn and played at BAMCinemaFest last weekend.

Andrew Dosunmu (Mother of George) collaborates once again with Bradford Young to gorgeous results. This time Pfeiffer’s transfixing visage supplements their beautiful frames with movie star magic...

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24 Days Until Oscar - Your Vote For Best Cinematography?

What if the sexiest category this year is actually Best Cinematography? The lineup is so very strong. This year's DPs hail from all over the Globe including the US, Mexico, Australia, and Sweden. And their movies are all astonishingly beautiful albeit in completely different ways

Which of these talented gents are you rooting for to win the Oscar?

P.S. If you haven't yet seen this great montage of every Best Cinematography Winner ever, you should take 7 minutes and do so...

"Where is Kyra" wins raves for La Pfeiff

True story: I started our new "Pfandom" series specifically for two reasons. The second was to cheer myself up in these awful democracy-losing times. The first though was to welcome our pfavorite, Michelle Pfeiffer, back. The twitter debate rages on what we shall call this year ("The Pfeiffersance? Michellaisance?" any other suggestions?). The first of her pfour roles this year is the title character in Where is Kyra?, which just premiered at Sundance. I will not be reading any reviews as I'd like to experience it pfresh but my understanding is that it's Oscar nominated cinematographer Bradford Young (Arrival) and Michelle herself winning the raves while people are less jazzed about the movie itself? Regardless, TFE's official stance is that it's very unfortunate that Pfeiffer did not show to support her movie. Director Andrew Dosunmu (Mother of George) had to go it alone. If she doesn't leave home to promote her movies this year,  the comeback may be rather less than glamorous and successful. But what can you do? She's an elusive creature. 

If you don't have my aversion to reading reviews before you see a film, reviews are now available at Village Voice, Variety, The Hollywood Reporter, Screen Daily, Ion Cinema, Playlist, and Yahoo! Movies.

Cinematography Prizes: ASC and Oscar

The American Society of Cinematographers recently added an very welcome category called "Spotlight" in which they note the work of DPs working in films with either very limited releases or festival only entries. It's a smart way to draw attention to work that might otherwise go unnoticed. In this new category they've nominated Lol Crawley for Childhood of a Leader (which we recently discussed), Gorka Gomez Andreu's work on the Georgian Oscar submission House of Others, Ernesto Pardo for the Mexican film Tempestad, and Juliette van Dormael's lensing of the Belgian film Mon Ange (My Angel). Why there are only 4 honorees and not the traditional 5 we do not know.

But the marquee category is of course Theatrical Motion Pictures. And here's the beauties they most loved looking at this year...

Bradford Young for Arrival
1st ASC nomination. Also his first BAFTA nomination. One previous Spirit nomination for Selma. Other key credits: A Most Violent Year, Pariah, Ain't Them Bodies Saints

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In Praise of Bradford Young

Chris here to spread some love for one of my below the line favorites in this year's Oscar Race. Like many of my cohorts here at The Film Experience, I am completely taken with Arrival. Director Denis Villeneuve's last two films (Sicario and Prisoners) resulted in Best Cinematography nominations for the genius Roger Deakins, but this time he partnered up with future legend Bradford Young to stunning results. If the Oscars want to reward some diversity below the line, Young is a mightily deserving talent.

Arrival seems like a fitting film to break him into the Oscar fold considering how it perfectly distills his greatest strengths: layering intimacy and the grandiose in equal measure, complimenting theme, and creating awe in the everyday. Like the film itself, his camera is only deceptively stoic with a great well of feeling underneath. Add in Arrival's many unforgettable images and fluid movement, and we have a real contender.

The cinematography branch is one of the stingiest to let in new voices, but with a major contender like Arrival he can hopefully break through. While much of his past work might have been too small for Oscar, he's been building a steady resume of immaculate work. Let's take a look back at five favorites from his work thus far...

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