The beauty of Rodrigo Prieto's cinema

by Cláudio Alves

Our look at 2005's Best Cinematography Oscar nominees continues. First, we explored the filmography of Australian wonder Dion Beebe, and now it's time to shine a light on another master cineaste, this one from Mexico. 

Throughout his career, Rodrigo Prieto has worked with a variety of artists and projects, spanning from independent shorts to internationally acclaimed auteur cinema, from pictures full of Oscar buzz to Taylor Swift video clips. His big breakthrough came in 2000 with Alejandro G. Iñárritu's Amores Perros and, since then, he's become a name known to any cinephile worth their mettle. In those early projects, Prieto's style was mostly identifiable by a passion for high-contrast imagery with coarse, grainy textures, but, over the years, he's evolved into a creator of sober imagery that's more interested in evoking a severe elegance than dazzling with aggressive stylings.

Here are 10 highlights from Prieto's enviable filmography…

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Five Underrated Edward Norton Performances for his 50th

by Abe Fried-Tanzer

Norton directs and co-stars with Bruce Willis in "Motherless Brooklyn"If you had asked me fifteen years ago who my favorite actor was, I surely would have said Edward Norton, though I’m not sure he’s worked enough since then to continue to hold that status. (My other choice of the time, Kevin Spacey, also bears reevaluation... for other reasons). With Edward Norton turning 50 today paired with the recent announcement that Norton’s Motherless Brooklyn, which he wrote and directed and stars in, will be closing out this year’s New York Film Festival, it’s the perfect time to take a look back at his career.

His feature film debut in 1996 in Primal Fear demonstrated an incredible ability to shift back and forth between different personas, earning him an Oscar nomination for his portrayal of an altar boy on trial for a brutal murder. Two years later, he scored a second Oscar bid for a more staggering and gradual shift in worldview as a reformed neo-Nazi trying to prevent his younger brother from going down the same path in American History X. It took sixteen years for Norton to return to the Oscar lineup, this time in Best Picture winner Birdman as an actor who, by many accounts, is closest to what Norton is actually like on set, with a penchant for attempting to exert control even if he’s not actually the one in charge... 

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April Showers: Edward Norton x 2

Hope you've enjoyed the April Showers series. There are SO many films we could have covered. (Tangent: I'm dying to know, for example, when the first shower sequence ever filmed was. The earliest I personally know of is Marilyn Monroe in Niagara (1953) which I meant to write about. Oops. But there has to be something earlier, right? I've searched but can't find any definitive info.)

Though I hate to end on a disturbing note I haven't been able to get Edward Norton out of my mind recently so we have to look back at American History X (1998).

Edward Norton as "Derek" in American History X

I'm not sure how Mr. Norton became lodged in my brain recently but if I had to guess it'd be the combo of Mark Ruffalo taking over the Hulk (they just started filming The Avengers) and a random flashback to The Painted Veil. Then at some point last week I said to myself "Edward Norton was Ryan Gosling before Ryan Gosling was Ryan Gosling" i.e. the actor that everyone thought was The Actor of His Generation, The Future. And then I really couldn't get him out of my head.

Norton famously gained much of his Great Actor reputation from American History X (1998), and won a longshot Oscar nomination for Best Actor. In the film he plays Derek, a loathsome racist who, after realizing his world view is full of shit while serving time in prison, tries to turn his life around before his younger brother follows his same dark path. It's disturbing to note how much acting cred can come from playing racist skinheads; Russell Crowe (Romper Stomper) and Ryan Gosling (The Believer) had similar artistic breakthroughs.

I've never known quite what to make of American History X -- it's one of those films like, say, Natural Born Killers, that seems to struggle with its own theme merely by addressing it. If you keep visualizing something awful through strong visuals and hugely charismatic acting, aren't you actually glorifying what you're supposed to be condemning? So this post is also a call for your opinions. I'm just curious how readers feel about the movie because it's one of those key late 90s Oscar players that I don't believe we've ever discussed. (I was in the Sir Ian McKellen camp that year but I was enormously pleased that Norton managed a nomination.)

As Derek begins to form a tentative friendship with a black prisoner, his neonazi counterparts turn violently against him. Showers are always bad news in prison movies. More after the jump [NSFW]

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