Spring Spectaculars

Welcome to summer! Last Thursday marked the longest day of the year and the official first day of summer, so I’m here to recap some of my favorite finds from this spring. Here we go!

Circe

The long-awaited second novel from one of my favorite writers, Madeline Miller, was released this spring and it did NOT disappoint. As usual, Miller brings a beautiful touch of humanity to the deities of Greek mythology. This book follows the story of Circe, daughter of Helios and one of the first witches of all time (you might recognize her name from The Odyssey). It is a journey of discovery and empowerment, and the spells aren’t even the most magical thing about this novel. Readers familiar with The Song of Achilles can expect another marvelous dose of Miller’s poetic prose and quotable lines.

circe

Big Little Lies

This HBO show came highly recommended to me by three people who know me very well, but it still took me months to get around to watching it. I binged the entire show in one day, and then immediately watched it again over the course of the following week. It is a masterpiece. The first minute of the show reveals a murder, but we don’t know who was killed, or who the killer was. The next six episodes take you back to the beginning, introducing you to characters without telling you who did what. There is no clear protagonist, because you can understand the perspective of each character and their motivations. At any given point, the killer could be anyone, and anyone could have died. The finale is extraordinary and ramps the tension up to 100. Perhaps my favorite thing about the show is that it actually allows women’s stories to be the focus, rather than letting male perspectives dominate things. This is a show about and for women– about their strength and perseverance and choices and support for each other. It is hauntingly beautiful, brilliantly cast (Reese Witherspoon, Nicole Kidman, Zoë Kravitz, Laura Dern, Shailene Woodley), and impeccably written. I can’t recommend it highly enough.

Please keep in mind that the show carries a content warning of domestic violence, abuse, and rape. 

big little lies hbo.jpg

Jurassic Park

The book! I first watched this movie back in high school, and while it was certainly enjoyable, I didn’t entirely understand the hype. I went through the full trilogy in college, and then of course watched Jurassic World when it was released in 2015. But I picked up the book by Michael Crichton this spring and was completely floored. No one told me what a phenomenal piece of writing I was in for! Originally published in 1990, I felt the same way about this novel as I feel about Dracula: I wish I could have read it when it was first released. Before it sparked an entire genre. Before it was commercialized, monetized, and parodied. Before time and acclaim and movie deals revealed every conceivable twist and character introduction and plot point. Because even though I know plenty about the universe of Jurassic Park (just like I know plenty about vampires), this book had me quite literally on the edge of my seat. Crichton is a master of building tension and foreshadowing. He utilizes varying POVs with such success, and crafts an adventure that is wholly absorbing even if you already know the story.

jurassic park

The Greatest Showman

So here’s the thing. I really like musicals. I love the production and the drama and the glitzy song/dance numbers. I’ve watched Burlesque more times than I can count for those very reasons. But these days, there aren’t really many good musicals being released. La La Land fell so short for me. Sing Street was almost as laughable as Rock of Ages. Hairspray tried. So did Into the Woods. But Greatest Showman hit so many of the right notes (pun absolutely intended). Keep in mind that in order to avoid the reality of Barnum’s rise to fame, the movie is more of an “inspired by” take on the tale rather than a “based on a true story” body of work. However, the movie pairs gorgeous costumes and choreography with the best musical soundtrack since Chicago. Okay, that might be a bit of a stretch, but it actually is full of great songs. Although it’s too late to catch it in theaters, I would highly recommend watching this movie on the biggest screen you can find– all the extravagance was made to be immersed in.

the greatest showman silhouette

Red Rising Trilogy

Some of you might remember when I read the first book in this series and how much I loved it. I ended up devouring the rest of the trilogy– even though I took two weeks to read the final book because of how anxious I was that everyone I cared about was going to die– and loving it. Dystopian novels tend to be one of my favorite genres, and I haven’t come across anyone who does it better than Pierce Brown. His timeline stretches over the course of several years, but manages to fill the span seamlessly and without feeling forced. His diversity isn’t quite on par with my ideal scenario, but he imparts so much strength and bravery to his characters. The books are an easy read, almost like YA, but unlike a YA dystopia, these books don’t shy away from the brutality of the situation. I’m not putting any fan art from the series here because spoilers, but PhantomRin on tumblr has some stellar characters interpretations and if you’ve read the books you should absolutely take a peek. #BreakTheChains

red-rising trilogy


And that’s that! These were some of my favorites from the past several months. Did you read or watch anything this spring that stood out to you? If so, let me know in the comments!

Spotlight on Cinematography: Seeing Red

It’s no secret that I love red on the big screen. It’s my favorite color to watch be utilized, largely because it elicits such specific reactions from viewers, consciously or not. I just shared a post about the red dress in film, and how it can be used in such a variety of ways to achieve different thematic results. Someone recommended I do a similar post, but without the fashion aspect. So here we are! I have an extensive folder filled with my favorite red frames, so it was loads of fun to go through them and pick selections for this post. Enjoy!

Desire — Amélie

There was a summer of my life where I watched this movie on a weekly basis. I relate to Amélie on so many levels, and the whimsy that takes a front seat in the story truly delights me. While I’m not a huge fan of the overall color palette in the film, there are a couple of color choices that were really brilliant, and this frame is one of them. The overhead shot adds to the effect of Amélie being lost in a sea of red, which helps to increase the mood of aching desire that is so important throughout this movie.

amelie
Amélie (2001) || Bruno Delbonnel (DP)

Love — Captain Fantastic

This was one of my favorite films of the entire year, and I could honestly write an entire blog post about what made it so successful to me. It’s such a tender story about a father doing his very best by himself after his wife is no longer in their lives. It is clear from the very beginning how much he relied on her throughout his life and that they were two sides of the same coin. After their untimely (and unwanted) separation, we see Viggo Mortensen wearing his one suit—a red one. He wears it twice throughout the course of the movie, and both times are to bid her farewell. It was a stellar costuming choice, largely because it is such a visceral and vivid color, one we traditionally associate with romance and passion. As he tells her goodbye for the last time, his suit manages to feel like a torch, a beating heart, a love letter.

captain fantastic
Captain Fantastic (2016) || Stéphane Fontaine (DP)

Longing — Atonement

I include frames from this movie so often in my cinematography posts, and with good reason. Seamus McGarvey is one of my favorite cinematographers, working on projects from Nocturnal Animals to We Need to Talk About Kevin. He has a real knack for setting up frames to convey varying emotions and moods (and in movies like We Need to Talk About Kevin, this is especially crucial). He’s a master of building tension through angles and symmetry, and the below frame is no exception. Atonement is one of the most heartbreaking films I’ve ever seen, with a plot twist that literally took my breath away. There is a tangible undercurrent of longing that the entire film is built upon is and relies upon, and I don’t think it would have been as successfully felt if not for McGarvey. Here, the pairing of the red curtains and the sliver through which the character is looking work together to emphasize the “outsider looking in” nature of the entire story. You can physically feel how badly she wants to be on the other side, to move forward.

atonement 2
Atonement (2007) || Seamus McGarvey (DP)

Scheming — Big Eyes

This is a pretty recent viewing for me, and one that was largely fueled by Christoph Waltz’s presence (I’m not a big Amy Adams fan). He tends to just play variations of himself, but he’s one of my favorite villainous actors of all time because of his charismatic nature. There’s something extra sinister about a bad guy who comes off as so appealing. In this scene in Big Eyes, the character is not only lying in wait for potential clients, but he’s also about to pass off someone else’s art as his own. The red glow of the hallway makes the cheerful club seem a bit more ambiguous, and serves to hint to the viewer that someone is up to no good.

big eyes
Big Eyes (2014) || Bruno Delbonnel (DP)

Passion — Chicago

I feel like this cellblock tango scene is probably on some “Top 100 Most Iconic Scenes” list somewhere. Even people who haven’t seen the movie can often recognize this frame. This entire song/dance number is lit in red light (with one important thematic exception) which ramps the sensual and passionate nature up to 100. It’s no coincidence that this scene is all about women murdering their husbands—crimes of passion, as it were. The red light helps to convey a lot of that important passion and heat to the viewer.

chicago
Chicago (2002) || Dion Beebe (DP)

Anxiety — Neon Demon

For the sake of transparency, I’m going to come right out and say that I did not finish this movie. I found very little about it enjoyable, aside from some of the visuals. It’s the kind of movie that benefits from being watched in a theater—so much of it was shot in low lighting, making it hard to see on a smaller screen or brighter room. However, there are a lot of strobes and colored lights throughout the film, all of which serve to ramp up the discomfort and anxiety that the main character feels over her surroundings.

neon demon
The Neon Demon (2016) || Natasha Braier (DP)

Tumult 

Is there anyone with quite as much angst as the Kylo Ren? Rian Johnson did a splendid job of playing up Adam Driver’s acting chops by choosing to bathe so many of his scenes in red. The scene in Supreme Leader Snoke’s throne room is a particularly apt example of this. In this scene, Kylo is fighting a mental battle on just about every level. He is trying to choose who to help, and pondering how that will change things moving forward. This frame shows him with a bowed head against a field of red. The huge amount of the bloody shade in this frame screams at the viewer that Kylo is facing a brutal struggle.

last jedi
Star Wars: The Last Jedi (2017) || Steve Yedlin (DP)

Spotlight on Cinematography: Reflections

In film, a reflection is rarely just a reflection. It says something about the character, about the moment, about what is being realized or learned or considered. Zack Sharf says: “A mirror shot is never just a mirror shot, and each image speaks volumes to the respective movie’s themes.” Duality, turmoil, hesitation, tranquility– reflections often allude to the fact that there is more going on beneath the surface than the character has admitted to. Below are some of my recent favorite reflections.

atonement
Atonement (2007) || Seamus McGarvey (DP)
ex machina
Ex Machina (2014) || Rob Hardy (DP)
a cure for wellness 2
A Cure for Wellness (2016) || Bojan Bazelli (DP)
The End of the Fing World
The End of the F***ing World || Justin Brown (DP)
life of pi
Life of Pi (2012) || Claudio Miranda (DP)
byzantium
Byzantium (2012) || Sean Bobbitt (DP)
chicago 2
Chicago (2002) || Dion Beebe (DP)
moulin rouge
Moulin Rouge (2001) || Donald McAlpine (DP)

Spotlight on Cinematography: Dark, Dark my Light

Darkness and stark light in movies help to create negative space, which functions to draw the eye to certain focal points and heighten drama. Sometimes, negative space also creates a feel of tension by emphasizing the solitary nature of an object or highlighting the lack of surroundings. In scenes like the one from Chicago, seen directly below, the shadowy negative spaces makes the glitz and glamour of the scene really stand out. The frame from Moonlight, however, uses shadows and negative space to emphasize the space between the two boys, thereby increasing the tension of the moment. Extreme light and extreme dark are both useful visual tools for filmmakers.

chicago
Chicago (2002) || Dion Beebe (DP)
moulin rouge
Moulin Rouge! (2001) || Donald McAlpine (DP)
la la land
La La Land (2016) || Linus Sandgren (DP)
fight club
Fight Club (1999) || Jeff Cronenweth (DP)
moonlight 2
Moonlight (2016) || James Laxton (DP)
hero
Hero (2002) || Christopher Doyle (DP)
stoker
Stoker (2013) || Chung-hoon Chung (DP)
snow white and the huntsman
Snow White and the Huntsman (2012) || Greig Fraser (DP)
we need to talk about kevin
We Need to Talk About Kevin (2011) || Seamus McGarvey (DP)
neon demon
The Neon Demon (2016) || Natasha Braier (DP)
mr nobody
Mr. Nobody (2009) || Christophe Beaucarne (DP)
matrix
The Matrix (1999) || Bill Pope (DP)

 

Spotlight on Cinematography: Shades of Red

I’ve talked about the color red before, in regards to Tarantino and Anderson‘s use of it to drive home drama and importance. It’s an intense color that is visceral in a way no other color is. I’ve arranged these frames in order of presence/intensity, but I think all of them utilize the various shades in an amazing way. Enjoy!

hunchback
The Hunchback of Notre Dame (1996) || Gary Trousdale (Director)
chicago 2
Chicago (2002) || Dion Beebe (DP)
star trek into darkness
Star Trek: Into Darkness (2013) || Dan Mindel (DP)
byzantium
Byzantium (2012) || Sean Bobbitt (DP)
american werewolf in london
An American Werewolf in London (1981) || Robert Paynter (DP)
we need to talk about kevin
We Need to Talk About Kevin (2011) || Seamus McGarvey (DP)
mr nobody
Mr. Nobody (2009) || Christophe Beaucarne (DP)