2014 in Film: Best Cinematography Includes 'Ida' and 'Birdman
Cinematography is arguably the heart and soul of cinema.
The visual elements and how they converge in the telling of the story is how most viewers often connect with stories in the moment and thereafter. We might remember certain lines of dialogue, but we also link them with certain images. Images are what we come away with from movies most of the times and they live on in our consciousness, emotionally and intellectually.
In our next segment of Best of Film in 2014, we look at the cinematography that affected us most in the calendar year.
Simplicity Wins the Day
By David Salazar
The year 2014 was terrific for cinematography. Bravura abounded in the "one-shot" of Emmannuel Lubezki in "Birdman" and in the searing night-time visuals of Robert Elswit's "Nightcrawler." There was Dick Pope's painterly imagery in "Mr. Turner" and eye-popping color of Robert Yeoman in "The Grand Budapest Hotel."
But in this writer's perspective, the most noteworthy cinematography did not have color or virtuosic moving cameras or even the "How did they do it?" moment in "Force Majeure'" with its continual bathroom scenes. In fact, this year's standout cinematography was shot in 4:3 aspect ratio, was in black and white and featured almost no movement to speak of. And it came from a polish film called "Ida."
Shot by Ryszard Lenczewski and Lukasz Zal, Ida's aspect ratio lends itself extremely well to vertical framing and this is exactly what the visuals do. Initial images of the eponymous character in her convent show her in the lower half of the frame with the upper part conceding to empty space. It gives off an idea of Ida's powerlessness, her isolation and the outer forces looming over her. Maybe even the suggestion of a God above in the wider shots the feature other characters. This motif permeates the film giving it a distinctive feel.
She often remains relegated to the sides of frames and in one of the most fascinating shots of the film, in which she lets her hair loose as she stares in the mirror, she is not only relegated to the right side of the frame, but also has empty space above her.
The film is made up mainly of static shots, emphasizing Ida's trapped psychological situation. She feels obligated toward being a nun despite having her own issues with her identity. And then when she final comes to grips with her outsider status in the film's emotional climax, the camera finally moves alongside her. There were previous images in which was moved by virtue of vehicles moving, but in this final image, it is following in front of Ida as she seeks out where to go. She has no idea and for that reason the camera remains on her; what the future holds is uncertain for everyone involved.
This stillness in the images also creates a sense of unpredictability, particularly when Ida's aunt makes a fateful decision in the film's second half. No one sees the moment happening and Pawlikowski's decision to keep the camera static not only catches the viewer by surprise, but also emphasizes the inevitability of the event. No one could do anything to prevent it.
The black and white imagery emphasizes a rigid quality in Paweł Pawlikowski's story while also expressing the mystery and darkness of the revelations in store for Ida and her depressed aunt.
One would be remiss to call the visuals "flashy" in any superficial sense, but their simplicity is actually more searing and psychologically penetrating than most films this year.
To really appreciate some of visual genius of this film, click on these links posted by the American Society of Cinematographers.
Cinema as Theater in One Shot
By Francisco Salazar
Cinematography is one of the most important components to film. The job of the cinematographer is to create a moving image that represents the vision of the director and tells the story in a visual way. This year represented another one in which a number of cinematographers showed the best of their work. Greg Fraiser's cold panorama shots in "Foxcatcher" created the dark tone for the film while Darius Khondji's use of sepia colors in "The Immigrant" evoked old photography. Meanwhile, Hoyte Van Hoytema once again created beautiful visuals for "Interstellar" while Dick Pope's frames emulated J.M.W Turner's paintings. There is a lot of admirable work out there, but the most memorable this year was without a doubt Emmanuel Lubezki's groundbreaking work in "Birdman."
Every major critic will talk about the achievement of making the film into one shot. However, this is a task that directors like Alfred Hitchcock have tried before. Lubezki has certainly been known for making extended takes and last year he created some of the most glorious images in "Gravity." However, for "Birdman" he ups himself as he lights the whole film with practicals and the tempo of the film is seamless. What also makes Lubezki's one shot special is the framings of each movement, and most importantly, the way this technique develops the story.
The one shot gives the film an enhanced theatrical nature, but it also allows the audience to feel as if they were inside the backstage drama. The technique also allows the actors the freedom to move around and it enhances the physicality of their performances. More importantly, it enhances the physiological state of each character. When a character is in a more calm state, the camera's movement is more relaxed and calculated. However, when there is a character in a state of frenzy, the camera emphasizes the state through more chaotic and unpredictable movement.
Together Alejandro Gonzalez Inarritu and Lubezki have created a beautifully comedic and chaotic masterpiece that will definitely be remembered in years to come and will inspire filmmakers in many ways. And its wondrous visuals are a major reason why.
Want to check out other installments in this series?
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