Wednesday, January 24, 2007
mainlymovies' Best of '06: Cinematography
Emmanuel Lubezki (Children of Men)
It’s not just those unbelievable, digitally aided long takes in the skirmishes, but the grey dawns, bleached landscapes and searching close-ups which made Cuaron’s film the grimly virtuosic and harrowing exercise it is. Lubezki gets the larger share of the credit, for me.
Andrei Butica, Oleg Mutu (The Death of Mr Lazarescu)
Not a pretty movie this, but the way the camera hovered sympathetically on the edges of Lazarescu’s worsening condition — never invasively close, anything but detached — gave it a huge portion of its humane grip.
Dion Beebe (Miami Vice)
Beebe could shoot a poncey deodorant ad and make it look like a shivery poem to the urban night, which is very often just what Miami Vice demanded of him. The film’s starstruck hi-def texture was nothing if not intoxicating.
Robbie Ryan (Red Road)
Ryan made this low-budget triumph the best-looking British feature in years, with his immediately arresting combination of extreme close-ups on Kate Dickie and distanced, wary reverse shots as she prowls the estate. Glasgow, viewed through a lava lamp, has never seemed so infernal.
Chris Menges (The Three Burials of Melquiades Estrada)
Ravishing work, in a year when Menges’s cinematography was also the best thing about the underrated North Country and valiantly resisted the usual Richard Eyre agoraphobia in Notes on a Scandal. Here he dazzled equally with sunsets and striplights, blinding dunes and craggy faces.