The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)
Starting yesterday, Strange Way of Life is streaming on Netflix. To commemorate the occasion, I thought about diving into the collaboration between Pedro Almodóvar and cinematographer José Luis Alcaine, a recurring creative partner since they filmed Women on the Verge of a Nervous Breakdown back in the late 80s. Even though I had issues with the short film, its lensing wasn't one of them. Indeed, playing with Western iconography and Saint Laurent fashions, Strange Way of Life is as visually enchanting as one would expect from something bearing the Spanish auteur's signature. When everything else fails, Alcaine creates hyper-artificial frames, popping with bright colors and luster…
Pedro Almodóvar's 19th feature harkens back to a time two decades earlier when the Spanish director was one of European cinema's most shameless provocateurs, an enfant terrible willing to rub the face of polite society in utter tastelessness, jolly amorality, and lustful perversity. Adapted from a novel by Thierry Jonquet, The Skin I Live In is a sordid tale that mixes melodrama with horror, handsome mad scientists and beautiful Frankenstein monsters. More than anything, as its title suggests, this is a film about skin and the places people inhabit…
It's a Pedro Party! Our Almodóvar week is extending a couple of days. You can click on the images from this production design feature to see them in magnified detail. Here's Daniel Walber...
El Cigarral is a mysterious, hidden estate that lurks on the outskirts of Toledo, Spain. Its gates are perpetually locked and its secrets are not easily pried loose. Its owner, Robert Ledgard (Antonio Banderas), keeps the outside world at a distance.
That said, more people manage to break in than he might like. It’s inevitable, at least in movies like these. Almodovar’s The Skin I Live In is part of a long tradition that winds its way from The Island of Lost Souls through Eyes Without a Face. And this house, which seems to be accessible only under cover of night or in disguise, is among the most dramatically conceived in the entire genre...
I always try to finish the "Oscar Categories" of my own Film Bitch Awards before the Oscar nominations. I was racing to the deadline, panting heavily, sweating profusely and then I collapsed. I am now crawling towards the finish line. If anything can revive me it's eye candy! So here are my nominees for Art Direction and Cinematography. I would post Costumes too but I'm still arguing with myself over 8 films. (So many worthy efforts!)
But while I have your eyeballs, I want to talk about one film in particular. Film is a visual medium so you'd think it would be a given that filmmakers would convey their themes and moods and characters visually. But many of them don't, relying on dialogue as exposition or voiceover profundities or leaning heavily on the gifts of their actors to get themes and nuances across. In other words, we have too few Pedro Almodóvars behind the camera.
In the two stills above from The Skin I Live In (which went without any Oscar nominations and was not submitted by Spain for Best Foreign Film) you can see how visually rich and how carefully planned every beat in an Almodóvar film is [MORE AFTER THE JUMP]
Around this time of year when I abruptly stop watching movies in full (a breather if you will. It usually lasts two to three weeks) I tend to spend a lot of time skimming through films I've already seen for writing purposes or little reminders of what makes them tick (or tick me off). Scanning through Hanna recently I was amazed anew at the rich theater of its sound work. I didn't quite love the movie or even like it at all in spots and yet it's really difficult to shake.
Of course, you always notice great sound work more when you're also responding to the music and you'll see that reflected in the song, score, sound mixing and sound editing categories which contain nominations for films ranging from Drive to Captain America, The Skin I Live In to The Muppets, Moneyball to Super 8. I don't tend to write much about these categories and I don't claim to be an expert but every year I promise myself to pay a little more attention to sound and scoring. I can't say that I kept the promise in 2011 but since Hollywood was busy obsessing over silent movies (Hugo and The Artist) I'll interpret that as a deferrment.
Let's talk scoring a lot more in 2012, mmmkay?!
As for 2011, which is still going on in our world since Oscar is the New Year's Eve of the film year, I'm all about Alberto Iglesias. There are a number of composers that do multiple films a year these days. Many of them repeat themselves. I think the strain is starting to show a smidgeon with Alexandre Desplat, for example, a god among composers. He's the Jessica Chastain of composers; working round the clock and signing up for endless more projects. But WOW with Iglesias this year. He's done great work before but The Skin I Live In and Tinker Tailor Soldier Spy are both A grade scores for very different films. I'd nominated him for both but for my policy of not doing that (I treat the craft categories like Oscar treats acting. You're only allowed on nomination in a category each year).
I hope Iglesias hasn't peaked yet but if he has, you'd be hard pressed to find a better twofer from any composer in the space of a single year. Both scores really fit and elevate their films.
P.S. I've add editing to the VISUAL CATEGORIES. I meant to have more done by now but I'm told that I was wrong about their being 32 hours in every day. Who knew?
Saturday, April 13, 2024 at 10:00AM ;)
