Spring is almost here! While the first day of spring is still officially a week away, the beginning of March always feels like the beginning of the new season for me. Like my fall media intake, this winter was pretty visually inclined as well. Here are my top five favorites from the past several months!
I know I’m late to this party, but wow. What a treat this film is. Stoker has long been one of my favorite films, so I don’t know why I waited so long to check out another Park Chan-wook project. The structure of the film is impeccable, the varying POVs is seamless, the set and costume design is gorgeous, and the cinematography is absolutely stunning. I watched the movie without knowing anything about the storyline (something I’m a huge fan of doing and highly recommend), so I was completely caught off guard by the plot twists and resolutions. This is now up there with Carol in terms of my favorite love stories, and one I’m super eager to watch again.
Six of Crows
I mentioned this duology in my recent post about book series, so I won’t talk about it too much here. However, coming from someone who hated the Grisha trilogy, Six of Crows and Crooked Kingdom were so enjoyable. There’s a great character lineup, government infiltration, solid representation, and of course magic and assassins. It’s rare to read a book that successfully meshes six MCs and their point of views, but Bardugo executes it surprisingly seamlessly. Each character is unique and has their own set of driving forces and issues, but they interact as a group as well. I almost didn’t give these books a chance because of my dislike for the Grisha trilogy, but I’m so glad I did. (Artist credit here)
Another one I’ve mentioned recently, this movie was directed by Jocelyn Moorhouse and was my female director pick for January. I love good costume design in a film, and in that regard, this viewing was delightful down to the last detail. Considering I can count on one hand all of the Kate Winslet movies I’ve ever seen, it seems noteworthy that she has ended up on my list of favorites both this season and last season. This is an Australian movie from 2015, based on the book by Rosalie Ham. If you’ve been following my cinematography posts, you might have noticed the name Donald McAlpine pop up a lot. He’s an extremely talented DP who happens to have worked on many of my favorite films. He has an extraordinary eye for framing, and this project is no exception.
The End of the F***ing world
Okay. So I first binge watched this when it was released, and really really enjoyed it. I talked about what it does right in my mini-review on You, but didn’t go very in depth. I just rewatched it again in January, and being aware of the storyline allowed me to really absorb the chemistry and characterization of the two main characters. Their on-screen interactions are so natural and charged, and it was a stroke of genius to include both of their internal narratives in tandem. The soundtrack is absolute perfection as well, and overall it’s a show worthy of multiple viewings. (I recommend watching all the episodes in quick succession, preferably in one day if possible. It allows the story to build and the character connections to become more tangible.)
Because I included The Last Jedi on my last favorites list, I was hoping to include another accessible blockbuster here… which ended up being entirely too easy after seeing Black Panther. I’ve been struggling with pacing in a lot of recent releases, and while I felt the same about Black Panther, Ryan Coogler absolutely knocked this out of the park in virtually every regard. This is a beautiful and empowering and important story, filled with impeccable casting and paired with a stellar soundtrack. The costume design was flawless (more to come on Ruth E. Carter in a future post) and Coogler’s inspiration from Ta-Nehisi Coates (who is undeniably one of the most talented writers of our time) made this script sing. Representation matters, and bearing witness to how uplifting and important this story is has been nothing short of magical. As Christopher Orr aptly puts it: Black Panther is more than a superhero movie. (Bonus: the second after-credits sequence was enough to make my heart implode.)
So there you have it! These were my top five favorites from this winter. Did you read or watch anything this over the past several months that stood out to you? If so, let me know in the comments!
For some reason, this was a challenging post to put words to. I want to talk about how impressive a character can seem if they’re framed properly, about how tension between two characters can be tangible if they’re framed properly, and how groups can be so imposing if– you guessed it– they’re framed properly. But words are hard today, so let’s just jump right in!
I’m going to start with a few frames featuring solo characters. I think this is a largely underrated and unnoticed aspect of film that many viewers might not pick up on, but there is so much potential to character introductions, and it feels rare to see that full potential being met. For that reason, I wanted to start with my all-time favorite first appearance: the one and only Marla Singer.
The below frame is a stellar example of showing instead of telling. We don’t really know anything about Marla at this point, but the instant the camera turns to her, it’s impossible not be in awe.
Straying away from first appearances, it probably comes as no surprise that I’m including a Donald McAlpine frame. The symmetry, shadows, and coloring of this character presentation all combine to work within the drama of the movie itself, and the tension of this particular scene.
The visuals of a character walking away from a fire/explosion/burning building is an age old technique. We see it in westerns, in spy flicks, in super hero movies, etc. But rarely do we see it paired with a femme fatale garbed in handmade haute couture. And boy oh boy does it work. What a force to be reckoned with.
Two people sharing a scene can run the gamut from stale to sensual. Characters can interact romantically, angrily, averagely, and so on and so forth. However, my favorite way for two people to share a frame is always when it’s charged with tension. This could be in a passionate way (a la cellblock tango in Chicago) or in a fearsome way (a la the xenomorph edging into a frame with a petrified Ellen Ripley).
The Handmaiden is an exquisite film, with every scene beautifully arranged and the characters perfectly positioned. But one of my very favorites moments was the one seen below. The repetition of the branches, the color juxtaposition of the costumes, and the locked eye contact all combine to create a tense and breathtaking scene.
Speaking of tense, how about this faceoff from the recent Black Panther? The tension is tangible between the two royals as they size each other up and stare each other down. Largely thanks to the negative space and forceful eye contact, you can feel the heat between the two of them.
It’s been a really long time since I’ve watched Hanna, and while I wasn’t over the moon for it back then, the final scene at the abandoned theme park has always stayed with me. This wide angle in particular is such a brilliant frame. Between the wolf head and the body language, the space between the two characters feels like a living thing, one Hanna is utterly determined to keep in existence.
Most of us have some sort of familiarity with standing in front of a large group of people. Either we are being watched, or we are doing the watching, and both carry with them their own sort of weight. It isn’t every day that a character is faced with a huge group of people on screen, which is part of why the below frames are so enjoyable.
In this frame from Tim Burton’s Alice in Wonderland, using Alice’s POV was a brilliant choice. Paired with the sea of white clothes and blankly expectant faces fading into the distance, you can almost feel the panic setting in.
A Cure for Wellness is easily one of my most hated films. However, it is undeniably incredibly visually appealing. From start to finish, the movie focuses on repetition, reflections, and uncomfortable focal points to institute an undercurrent of unease. You can’t shake the feeling that something is off. This eerily centered frame is no exception. The color coordinated balls, the lines of the pool and staircases, and the razor sharp focus of the group in the pool combine to leave a tinge of discomfort with the viewer due to the unnatural perfection of it all.
While I wasn’t wild about the storyline, Girl Asleep (directed by Rosemary Myers) is another shockingly beautiful film. Based on the play of the same name, the film utilizes an almost constant feeling of being watched to inject tension and unease through the movie. Between the dark forest, characters in masks, mirrors, and clever framework during school scenes, you can feel the discomfort of our main character.
So I was watching Requiem for a Dream for the first time back around Christmas, and was really fascinated by the use of the symbolic red dress, both for Sara Goldfarb and Marion. I set aside a frame from the film for a future post, and since then, have been slowly squirreling away red dresses to utilize. From the woman in the red dress in The Matrix to an entire wardrobe dedication in Bedazzled, red dresses have often functioned as symbolic articles of clothing. I’m super excited to share what I’ve found, and am really looking forward to touching on all the ways the color red is utilized to drive a certain message or mood home. Enjoy!
Defiance — The Dressmaker
I watched this movie in January and was absolutely over the moon for the costume design. Every single dress, glove, throw, and shoe is magnificent in its usage and presentation. Kate Winslet plays Myrtle, an estranged young woman from a small and secluded town in Australia. Her presence is unexpected and borders on unwelcome, and her every decision is an act of defiance against the traditional roles that the town still relies upon. She goes against the grain in just about every way, and her choice of outfits for a rugby match is an exquisite example of that. In this context, the red dress symbolizes an outlier and even a bit of a rebel by highlighting the person who isn’t afraid to make a scene. (If you like fashion in film and haven’t watched The Dressmaker yet, you’re really missing out.)
Power — Black Panther
First of all, the wardrobe for Black Panther was utterly impeccable. Ruth Carter paid so much attention to every detail, from historic accuracy to color themes for certain characters (i.e. Nakia always wearing green). The choice to garb the guards (especially Okoye) in all red was an excellent decision. As I’ve discussed before, the color red instantly alerts viewers to the importance of something happening on screen. It is a color that can elicit strong emotional responses, and even heighten heart rate and breathing. To garb a fierce warrior in red serves to emphasize that power and the strength that she has. I’m specifically choosing the red dress from the Busan casino scene for this post because it strikes me as so empowering that dolled up or not, Okoye was a force of nature. In this context, the red dress functions as a symbol of raw power and sheer skill.
Passion — The Rum Diary
In terms of wardrobe, The Rum Diary is one of my favorite films of all time. As much as I love decadence, there is so much to be said for the sleek and subtle costuming of this film. Everything Chenault wears is so strikingly simple that it’s impossible to pretend like the clothes aren’t extravagantly expensive. Crisp diamond earrings, neutral dresses that look as if they were made for her, and red lipstick that goes on so smoothly it can only be Chanel– these are the trademarks of Chenault’s wardrobe. There is a scene where Chenault cuts loose and dances with a stranger at a jazz club, and the chemistry between them is electric. You can feel the tension while watching the scene, and I owe a large portion of that to the power of the red dress. In this context, the red dress serves as a vehicle of heightened sensuality and chemistry.
Longing — Requiem for a Dream
This is the frame that sparked this blog post. Although the red dress is an important plot point much earlier on, this feverish scene takes place toward the end of the film, after viewers have been taken through the emotional and mental ringer. We have seen our characters fall into such darkness and instability, and there is something utterly heartbreaking about the immense longing that Harry conveys as he moves towards Marion at the end of the pier. Her simple red dress is rustling the breeze, she is centered in perfect symmetry, her surroundings a blank canvas that make her stand out all the more. Harry has a razor sharp focus, perhaps for the first time in the entire film, and all that matters in that moment is moving towards her. In this context, the red dress heightens the focus and longing of the moment, and functions as a focal point to pour all that yearning into.
Seduction — Who Framed Roger Rabbit
Would any list about red dresses be complete without the iconic Jessica Rabbit number? Jessica Rabbit is a vastly underappreciated character, and is one who is often reduced to little more than a sex symbol. Her famous line “I’m not bad, I’m just drawn that way” hints at the depths that lie beneath her surface. I’ve seen so many great posts about her and her characterization (one of my favorites: a theory that she’s asexual despite being boxed into her sex symbol status) and her outfit is a popular choice among fan art and cosplayers alike. She’s devoted and loyal, and is willing to put herself in unsavory situations for the sake of her husband. She makes it clear that she puts value in things other than physical appearances, which hints at her desire for others to value those same things in her as well. She’s clever when it comes to solving mysteries, sensual within the scope of her job, and doesn’t put up with anyone’s BS (bear trap hidden in her cleavage, anyone?) I get the impression that she resigned herself to always being judged at face value, and for that reason played up the sexuality she was “drawn” with. In this context, the red dress functions as a symbol of sex appeal and sensuality, able to be utilized as a tool of the trade.
Lust — The Great Gatsby
Baz Luhrmann is my favorite director for one big reason: decadence. From Strictly Ballroom to Australia, Luhrmann’s films make my heart sing– and The Great Gatsby is no exception. There’s hundreds of posts and articles about the wardrobe in this movie, largely thanks to Daisy’s costume design. And while those gauzy gowns are nothing short of ethereal, I’ll actually be focusing on someone else today: Isla Fisher as Myrtle Wilson. Because virtually everyone has read the book at some point, I don’t think Myrtle counts as a spoiler, but consider yourself warned. Daisy’s husband, Tom, is having an affair with the wife of his mechanic. She is a dewy and bright woman, and her husband is a worn down man who struggles to give her all that she wants. Tom comes along, all shiny cars and crisp suits and the rest is history. There’s this moment in Luhrmann’s movie where Tom and Nick are at the mechanic’s shop getting gas, and Myrtle floats down the stairs wearing a dress with red ruffling along the neckline, and there’s a flurry of stolen glances and touches. Later, the two are in an apartment together and Myrtle is wearing head to toe red. Tom can’t keep his hands off her. In this context, the red dress seems sensual and full of lust, acting as a magnet or a homing beacon to the object of Myrtle’s desire.
Love — Pretty Woman
Like Jessica Rabbit’s ensemble, this gown is pretty much as iconic as it gets. I don’t know anyone who hasn’t seen the movie, or isn’t at least familiar with it, so it probably comes as no surprise that it is on this list. Vivian wears this stunning floor-length red opera gown at a point in the movie where it’s clear both of our leads are catching the feels. In this context, the red dress seems decadent and romantic, and catches the attention of the viewer to show them that something has changed.