Oppenheimer continued its dominant awards season form on Sunday night at the American Society of Cinematographers’ ASC Outstanding Achievement Awards, with Hoyte van Hoytema taking the prize for theatrical feature film.
The win was Van Hoytema’s first ASC award, after previously being nominated for Dunkirk (2018) and Tinker Tailor Soldier Spy (2012).
On the TV side, The Marvelous Mrs. Maisel‘s M. David Mullen won the ASC prize for an episode of one hour of television, Barry‘s Carl Herse won for an episode of a half-hour series and Boston Strangler‘s Ben Kutchins won for limited or anthology series or motion picture made for TV.
Also on the night, Spike Lee was awarded the ASC Board of Governors Award and Don Burgess, whose work includes Academy Award-winning best picture Forrest Gump, received the Lifetime Achievement Award. Additionally, Steven Fierberg accepted the ASC Career Achievement in Television Award, and Amy Vincent...
The win was Van Hoytema’s first ASC award, after previously being nominated for Dunkirk (2018) and Tinker Tailor Soldier Spy (2012).
On the TV side, The Marvelous Mrs. Maisel‘s M. David Mullen won the ASC prize for an episode of one hour of television, Barry‘s Carl Herse won for an episode of a half-hour series and Boston Strangler‘s Ben Kutchins won for limited or anthology series or motion picture made for TV.
Also on the night, Spike Lee was awarded the ASC Board of Governors Award and Don Burgess, whose work includes Academy Award-winning best picture Forrest Gump, received the Lifetime Achievement Award. Additionally, Steven Fierberg accepted the ASC Career Achievement in Television Award, and Amy Vincent...
- 3/4/2024
- by Abid Rahman
- The Hollywood Reporter - Movie News
Refresh for latest: Oppenheimer continued its romp through awards season by winning the top film prize at the American Society of Cinematographers’ 38th annual ASC Awards, which were handed out Sunday night at the Beverly Hilton. See the winners list below.
Hoyte van Hoytema won for Oppenheimer, which is up for Best Cinematography at the Oscars next weekend. He will vie against the same quartet he beat for the ASC prize: Edward Lachman for El Conde, Matthew Libatique for Maestro, Rodrigo Prieto for Killers of the Flower Moon and Robbie Ryan, Poor Things (Searchlight).
The group’s film winner has gone on to claim the Academy Award nearly half of the time — 17 times in its 37 years — but not last year. Mandy Walker won the ASC’s top film prize in 2023, but the Academy Award went to James Friend for All Quiet on the Western Front.
Related: Ace Eddie Awards: ‘Oppenheimer...
Hoyte van Hoytema won for Oppenheimer, which is up for Best Cinematography at the Oscars next weekend. He will vie against the same quartet he beat for the ASC prize: Edward Lachman for El Conde, Matthew Libatique for Maestro, Rodrigo Prieto for Killers of the Flower Moon and Robbie Ryan, Poor Things (Searchlight).
The group’s film winner has gone on to claim the Academy Award nearly half of the time — 17 times in its 37 years — but not last year. Mandy Walker won the ASC’s top film prize in 2023, but the Academy Award went to James Friend for All Quiet on the Western Front.
Related: Ace Eddie Awards: ‘Oppenheimer...
- 3/4/2024
- by Erik Pedersen
- Deadline Film + TV
“Oppenheimer” cinematographer Hoyte van Hoytema won Feature Film at the 38th ASC Awards, March 3 at the Beverly Hilton Hotel. The Oscar favorite beat the other four Oscar nominees: “Killers of the Flower Moon,” “Maestro,” Poor Things,” and “El Conde”.
This marked van Hoytema’s first ASC win after three nominations (including “Dunkirk” and “Tinker Tailor Soldier Spy”) and positions the Dutch-Swedish cinematographer for his first Oscar win. Significantly, “Oppenheimer” represents the culmination of his experimental IMAX collaboration with director Christopher Nolan. The duo achieved a new kind of intimate spectacle with this psychological thriller about physicist J. Robert Oppenheimer (Best Actor nominee Cillian Murphy), the “father of the atomic bomb.” Van Hoytema used the large-format IMAX camera to explore the landscape of faces; namely, Oppenheimer’s in color from his perspective and Salieri-like adversary Admiral Lewis Strauss’ (Best Supporting Actor nominee Robert Downey Jr.) in black-and-white from his.
What a...
This marked van Hoytema’s first ASC win after three nominations (including “Dunkirk” and “Tinker Tailor Soldier Spy”) and positions the Dutch-Swedish cinematographer for his first Oscar win. Significantly, “Oppenheimer” represents the culmination of his experimental IMAX collaboration with director Christopher Nolan. The duo achieved a new kind of intimate spectacle with this psychological thriller about physicist J. Robert Oppenheimer (Best Actor nominee Cillian Murphy), the “father of the atomic bomb.” Van Hoytema used the large-format IMAX camera to explore the landscape of faces; namely, Oppenheimer’s in color from his perspective and Salieri-like adversary Admiral Lewis Strauss’ (Best Supporting Actor nominee Robert Downey Jr.) in black-and-white from his.
What a...
- 3/4/2024
- by Bill Desowitz
- Indiewire
Hoyte Van Hoytema has taken top honors at the 38th annual American Society of Cinematographers Awards for his work on “Oppenheimer.”
Van Hoytema topped a field that included Edward Lachman for “El Conde, Matthew Libatique for “Maestro,” Rodrigo Prieto for “Killers of the Flower Moon” and Robbie Ryan for “Poor Things.”
The awards were handed out Sunday night at the Beverly Hilton Hotel with Ed Helms hosting the festivities.
All five theatrical feature film nominees are also nominated for best cinematography at the Oscars.
In its 38-year history, only 17 have gone on to win the Oscar. Last year, Mandy Walker made history when she became the first woman to win an ASC award for her work on “Elvis.” The Academy Award ultimately went to James Friend for “All Quiet on the Western Front.”
On the TV side, winners included Carl Herse for “Barry” and Ben Kutchins for “Boston Strangler.”
Van...
Van Hoytema topped a field that included Edward Lachman for “El Conde, Matthew Libatique for “Maestro,” Rodrigo Prieto for “Killers of the Flower Moon” and Robbie Ryan for “Poor Things.”
The awards were handed out Sunday night at the Beverly Hilton Hotel with Ed Helms hosting the festivities.
All five theatrical feature film nominees are also nominated for best cinematography at the Oscars.
In its 38-year history, only 17 have gone on to win the Oscar. Last year, Mandy Walker made history when she became the first woman to win an ASC award for her work on “Elvis.” The Academy Award ultimately went to James Friend for “All Quiet on the Western Front.”
On the TV side, winners included Carl Herse for “Barry” and Ben Kutchins for “Boston Strangler.”
Van...
- 3/4/2024
- by Jazz Tangcay
- Variety Film + TV
The American Society of Cinematographers has unveiled the nominations for its 38th annual ASC Awards, honoring the year’s best in feature film, documentary and television cinematography.
The society’s marquee Theatrical Feature Film nominees are chock-full of awards-season favorite pics, with one surprise. Edward Lachman is up for the Netflix pic El Conde, joining the likes of Matthew Libatique for Maestro, Rodrigo Prieto for Killers of the Flower Moon, Robbie Ryan for Poor Things, Hoyte van Hoytema for Oppenheimer.
Prieto also lensed the year’s No. 1 movie, Barbie, but missed the ASC cut today.
The group’s film winner has gone on to claim the Academy Award nearly half of the time — 17 times in its 37 years — but not last year. Mandy Walker won the ASC’s top film prize in 2023, but the Academy Award went to James Friend for All Quiet on the Western Front.
On the small-screen front,...
The society’s marquee Theatrical Feature Film nominees are chock-full of awards-season favorite pics, with one surprise. Edward Lachman is up for the Netflix pic El Conde, joining the likes of Matthew Libatique for Maestro, Rodrigo Prieto for Killers of the Flower Moon, Robbie Ryan for Poor Things, Hoyte van Hoytema for Oppenheimer.
Prieto also lensed the year’s No. 1 movie, Barbie, but missed the ASC cut today.
The group’s film winner has gone on to claim the Academy Award nearly half of the time — 17 times in its 37 years — but not last year. Mandy Walker won the ASC’s top film prize in 2023, but the Academy Award went to James Friend for All Quiet on the Western Front.
On the small-screen front,...
- 1/11/2024
- by Erik Pedersen
- Deadline Film + TV
“El Conde,” “Killers of the Flower Moon,” “Maestro,” “Poor Things,” and “Oppenheimer” were nominated by the American Society of Cinematographers (ASC) for outstanding achievement in theatrical film cinematography. Winners will be announced during the 38th Annual ASC Awards ceremony on March 3 at the Beverly Hilton in Beverly Hills, California; the event will also be live-streamed worldwide on theasc.com.
On the television side, the ASC singled out episodes of “Barry,” “The Bear,” and the “Marvelous Mrs. Maisel” alongside sci-fi stalwarts “Star Trek: Strange New Worlds” and “Foundation,” among others. The nominees for best anthology or limited series included episodes of “George and Tammy” and “Lessons in Chemistry” as well as made-for-tv movie “Boston Strangler.”
The ASC also singled out three documentaries: the first episode of the docu-series “Murder in Big Horn,” as well as the films “King Coal” and “Kokomo City.”
Below is the full list of nominations for the...
On the television side, the ASC singled out episodes of “Barry,” “The Bear,” and the “Marvelous Mrs. Maisel” alongside sci-fi stalwarts “Star Trek: Strange New Worlds” and “Foundation,” among others. The nominees for best anthology or limited series included episodes of “George and Tammy” and “Lessons in Chemistry” as well as made-for-tv movie “Boston Strangler.”
The ASC also singled out three documentaries: the first episode of the docu-series “Murder in Big Horn,” as well as the films “King Coal” and “Kokomo City.”
Below is the full list of nominations for the...
- 1/11/2024
- by Sarah Shachat
- Indiewire
Cinematographer Rodrigo Prieto’s lensing of Martin Scorsese’s drama Killers of the Flower Moon and Robbie Ryan’s photography of Yorgos Lanthimos’ fantasy Poor Things are among the nominees in the feature competition of the 2024 American Society of Cinematographers Awards, which will be held March 3 at the Beverly Hilton.
They are nominated alongside Edward Lachman, for Pablo Larraín’s El Conde; Matthew Libatique for Bradley Cooper’s Leonard Berstein drama Maestro; and Hoyte van Hoytema for Christopher Nolan’s biopic Oppenheimer. All five Oscar-nominated DPs have been previously nominated in this ASC category and each are seeking their first win. Lachman, whose previous credits include Carol and Far from Heaven, was the ASC’s 2017 Lifetime Achievement Award winner. This year, Prieto’s work also includes Greta Gerwig’s Barbie.
A year ago, Elvis cinematographer Mandy Walker became the first woman to win the ASC feature competition. All Quiet on...
They are nominated alongside Edward Lachman, for Pablo Larraín’s El Conde; Matthew Libatique for Bradley Cooper’s Leonard Berstein drama Maestro; and Hoyte van Hoytema for Christopher Nolan’s biopic Oppenheimer. All five Oscar-nominated DPs have been previously nominated in this ASC category and each are seeking their first win. Lachman, whose previous credits include Carol and Far from Heaven, was the ASC’s 2017 Lifetime Achievement Award winner. This year, Prieto’s work also includes Greta Gerwig’s Barbie.
A year ago, Elvis cinematographer Mandy Walker became the first woman to win the ASC feature competition. All Quiet on...
- 1/11/2024
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
“Oppenheimer,” “Maestro” and “Killers of the Flower Moon” are among the films that received nominations for the American Society of Cinematographers Awards.
The ASC Award nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking.
Rounding out the feature film nominations are “El Conde” (Edward Lachman) and “Poor Things” (Robbie Ryan).
In television, “The Bear,” “Winning Time: The Rise of the Lakers Dynasty” and “The Marvelous Mrs. Maisel” were among the nominated series.
Last year’s feature film winner Mandy Walker made history when she became the first woman to win the ASC Award for her work on Baz Luhrmann’s “Elvis.” However, she did not go on to win the cinematography Oscar, which went to “All Quiet on the Western Front.” Still, seven of the past 11 ASC winners went on to win the Oscar for best cinematography.
The ASC Award...
The ASC Award nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking.
Rounding out the feature film nominations are “El Conde” (Edward Lachman) and “Poor Things” (Robbie Ryan).
In television, “The Bear,” “Winning Time: The Rise of the Lakers Dynasty” and “The Marvelous Mrs. Maisel” were among the nominated series.
Last year’s feature film winner Mandy Walker made history when she became the first woman to win the ASC Award for her work on Baz Luhrmann’s “Elvis.” However, she did not go on to win the cinematography Oscar, which went to “All Quiet on the Western Front.” Still, seven of the past 11 ASC winners went on to win the Oscar for best cinematography.
The ASC Award...
- 1/11/2024
- by Jazz Tangcay
- Variety Film + TV
The latest film from writer-director Matt Ruskin begins in media res as an attentive neighbor overhears an attack on a female tenant in the unit next door. As he bangs on the door, the words “Inspired by a True Story” appear onscreen as the attacker turns up the radio to disguise the murder.
There are several attack scenes in Boston Strangler, which follows real life journalist Loretta McLaughlin (Kiera Knightley) as she embarks on an obsessive investigation of a serial killer targeting women in Boston from 1962 and 1964.
This first attack is the sparsest: it’s all strategic framing and sound effects to imply violence. This won’t always hold true, however; several other sequences of gendered violence are more explicit and sustained. But while the female victims were sexually assaulted and strangled, Ruskin and director of photography Ben Kutchins are careful not to sensationalize the crimes.
The gendered nature of...
There are several attack scenes in Boston Strangler, which follows real life journalist Loretta McLaughlin (Kiera Knightley) as she embarks on an obsessive investigation of a serial killer targeting women in Boston from 1962 and 1964.
This first attack is the sparsest: it’s all strategic framing and sound effects to imply violence. This won’t always hold true, however; several other sequences of gendered violence are more explicit and sustained. But while the female victims were sexually assaulted and strangled, Ruskin and director of photography Ben Kutchins are careful not to sensationalize the crimes.
The gendered nature of...
- 3/16/2023
- by Joe Lipsett
- bloody-disgusting.com
In the early 1960s, 13 women were murdered around the Boston area. Most were strangled with their own nylon stockings, leading the press to dub the murderer the “Boston Strangler.” That title also lends itself to Matt Ruskin’s newest feature on the killings, which foregrounds the reporting of Loretta McLaughlin (Keira Knightley) and Jean Cole (Carrie Coon) for the Record American. They not only coined the name but also wrote a four-part series highlighting the investigative gridlock that kept police from discovering the killer and kept the city on edge.
It’s a fascinating story that has been told before, to much less successful results, in 1968’s The Boston Strangler. Here, however, writer-director Matt Ruskin wisely hones in on McLaughlin, Cole, and the media circus that erupted during the killings. Despite dependable performances from Knightley and Coon, who honestly couldn’t be bad in anything, Boston Strangler is workmanlike above all,...
It’s a fascinating story that has been told before, to much less successful results, in 1968’s The Boston Strangler. Here, however, writer-director Matt Ruskin wisely hones in on McLaughlin, Cole, and the media circus that erupted during the killings. Despite dependable performances from Knightley and Coon, who honestly couldn’t be bad in anything, Boston Strangler is workmanlike above all,...
- 3/16/2023
- by Christian Gallichio
- The Film Stage
To be a male serial killer of women one must be a misogynist. “Duh,” you’re probably saying, and yet we’re surrounded by sexy serial killer media, from Zac Efron as Ted Bundy to whatever Ryan Murphy is up to these days. It’s refreshing, then, that the historical crime drama “Boston Strangler” centers on a female journalist as she tracks that eponymous killer while avoiding glamorizing or sexualizing his actions.
Keira Knightley plays Loretta McLaughlin, a dogged journalist and mother of three who sees a way out of covering the lifestyle beat when she connects three similar murders. As she seeks justice for a growing tally of victims, her own womanhood is an inextricable part of the story.
The film begins in Ann Arbor, 1965, where a woman living alone is strangled to death. Her body is posed, nylon stockings tied around her neck in a sadistic, giftwrappy bow.
Keira Knightley plays Loretta McLaughlin, a dogged journalist and mother of three who sees a way out of covering the lifestyle beat when she connects three similar murders. As she seeks justice for a growing tally of victims, her own womanhood is an inextricable part of the story.
The film begins in Ann Arbor, 1965, where a woman living alone is strangled to death. Her body is posed, nylon stockings tied around her neck in a sadistic, giftwrappy bow.
- 3/16/2023
- by Lena Wilson
- The Wrap
Plot: A true-crime thriller about the trailblazing reporters who broke the story of the notorious Boston Strangler murders of the 1960s.
Review: The notorious serial killer known as The Boston Strangler is a case that captivated the world in the 1960s and spawned a film almost fifty years ago starring Tony Curtis as Albert DeSalvo. In the decades since DeSalvo’s confession and trial, theories have emerged that the Boston murders could have been committed by multiple killers, of which DeSalvo can only be concretely linked to one. This new film from writer/director Matt Ruskin chronicles the quest of two reporters to help stop the Strangler and gives context to the city of Boston as it was on edge for years as the killer brutally dispatched women of all ages. With a solid lead from Keira Knightley, this intriguing drama emulates David Fincher’s Zodiac while not capturing the...
Review: The notorious serial killer known as The Boston Strangler is a case that captivated the world in the 1960s and spawned a film almost fifty years ago starring Tony Curtis as Albert DeSalvo. In the decades since DeSalvo’s confession and trial, theories have emerged that the Boston murders could have been committed by multiple killers, of which DeSalvo can only be concretely linked to one. This new film from writer/director Matt Ruskin chronicles the quest of two reporters to help stop the Strangler and gives context to the city of Boston as it was on edge for years as the killer brutally dispatched women of all ages. With a solid lead from Keira Knightley, this intriguing drama emulates David Fincher’s Zodiac while not capturing the...
- 3/16/2023
- by Alex Maidy
- JoBlo.com
Cinematographer Eric Koretz was deep into work when the 2022 Emmy nominations were announced, and had no way of learning that he’d received a bid — his career-first — for shooting the fourth and final season of “Ozark.” “I was actually on set with no internet,” Koretz revealed to Gold Derby in a new webchat (watch our exclusive video interview above). “I found out a couple hours later — but it was over text, basically, when all the texts started coming in.”
One of three DPs to work on the 14-episode fourth season of the Netflix drama — which was split into two parts that debuted on January 21 and April 29, respectively — Koretz didn’t even board the show until halfway into its farewell installment, but went on to shoot a quartet of episodes from Part 2: “The Cousin of Death” (Ep. 8), “Pick a God and Pray” (Ep. 9), “You’re the Boss” (Ep. 10) and his nominated episode,...
One of three DPs to work on the 14-episode fourth season of the Netflix drama — which was split into two parts that debuted on January 21 and April 29, respectively — Koretz didn’t even board the show until halfway into its farewell installment, but went on to shoot a quartet of episodes from Part 2: “The Cousin of Death” (Ep. 8), “Pick a God and Pray” (Ep. 9), “You’re the Boss” (Ep. 10) and his nominated episode,...
- 7/28/2022
- by Luca Giliberti
- Gold Derby
Curated by the IndieWire Crafts team, Craft Considerations is a platform for filmmakers to talk about recent work we believe is worthy of awards consideration. In partnership with HBO, for this edition we look at how cinematographer Ben Kutchins, composer Cristobal Tapia de Veer, and casting director Meredith Tucker created a darker, more complex vision of Hawaii for the guests and staff at “The White Lotus.”
Writer/director Mike White is hardly the first television showrunner to create a whodunit where any character could be either the killer or their prey, but his choice of setting provided the limited series with both its biggest draw and greatest challenge. Hawaii is, we are constantly told, a bright, relaxing tropical paradise.
To make the White Lotus feel like a luxury resort where a terrible fate lurks just around the corner required the limited series’ filmmakers to craft a palpable undertow of doubt,...
Writer/director Mike White is hardly the first television showrunner to create a whodunit where any character could be either the killer or their prey, but his choice of setting provided the limited series with both its biggest draw and greatest challenge. Hawaii is, we are constantly told, a bright, relaxing tropical paradise.
To make the White Lotus feel like a luxury resort where a terrible fate lurks just around the corner required the limited series’ filmmakers to craft a palpable undertow of doubt,...
- 12/1/2021
- by Sarah Shachat
- Indiewire
After his two attempts at the international glory with English-language movies “The Sense of an Ending” (2014) and “Our Souls at Night” (2017), Ritesh Batra is back to the territory he is most familiar with, the heart-warming Indian romance he created with his feature debut “The Lunchbox” (2013) which became a huge festival hit. His newest film, “Photograph” (2019) walks pretty much the same ground, content-, execution-, and festival distribution-wise. After its world premiere at Sundance last year and European premiere at Berlinale, it went on an extended, seemingly never-ending festival tour, parallel with the wide cinema release. Better late than never, could be said for its screening at this year’s online edition of Zagreb Film Festival and the review here.
Our man Rafi (Nawazuddin Siddiqui) is a forty-something street photographer whose pitch to the tourists at The Gateway of India is that the photograph is an all-senses memory experience: once they see the photograph,...
Our man Rafi (Nawazuddin Siddiqui) is a forty-something street photographer whose pitch to the tourists at The Gateway of India is that the photograph is an all-senses memory experience: once they see the photograph,...
- 11/18/2020
- by Marko Stojiljković
- AsianMoviePulse
The entrance of a number of newcomers could shake up long-time favorites’ odds to win at this year’s Creative Arts Emmy ceremonies.
Here, Variety takes a closer look at six of those important races.
Main Title Design
This is one category in which the nominees get to be wholly creative when it comes to visual styles. They use live-action elements, animation, photography or some combination thereof to quickly encapsulate the themes of the show that will follow. It is no easy feat, and neither is comparing such unique pieces in order to reward one over the other. Those who like minimalism will likely gravitate toward the moving, colored dots of Apple TV Plus’ “The Morning Show,” while voters looking for metaphors about compartmentalization and the pieces that make a man will select Netflix’s “The Politician,” while those who prefer symbolic images will finally award two-time prior nominee HBO’s “Westworld.
Here, Variety takes a closer look at six of those important races.
Main Title Design
This is one category in which the nominees get to be wholly creative when it comes to visual styles. They use live-action elements, animation, photography or some combination thereof to quickly encapsulate the themes of the show that will follow. It is no easy feat, and neither is comparing such unique pieces in order to reward one over the other. Those who like minimalism will likely gravitate toward the moving, colored dots of Apple TV Plus’ “The Morning Show,” while voters looking for metaphors about compartmentalization and the pieces that make a man will select Netflix’s “The Politician,” while those who prefer symbolic images will finally award two-time prior nominee HBO’s “Westworld.
- 8/11/2020
- by Danielle Turchiano
- Variety Film + TV
If, for whatever reason, you’re determined to see “Jexi,” you’ll want to arrive with a backup plan. Life is busy, so it’s important to use our time wisely. Perhaps you can mentally balance your checkbook, think through your upcoming schedule, or finally memorize the alphabet backwards. I came up with a long list of all the worthy filmmakers who’ve been unable to make a second movie, or had to struggle for years just to get their first one onscreen.
Although this wasteful effort from the “Bad Moms” team is uninspired in almost every regard, it does advance cinema in a single way: writers-directors Jon Lucas and Scott Moore have figured out how to modernize one of the most traditional and apparently still essential Hollywood tropes: the Crazy Bitch. They’ve even managed to cut out the middle(wo)man, no longer requiring the services of a...
Although this wasteful effort from the “Bad Moms” team is uninspired in almost every regard, it does advance cinema in a single way: writers-directors Jon Lucas and Scott Moore have figured out how to modernize one of the most traditional and apparently still essential Hollywood tropes: the Crazy Bitch. They’ve even managed to cut out the middle(wo)man, no longer requiring the services of a...
- 10/11/2019
- by Elizabeth Weitzman
- The Wrap
For many years, true cinematic darkness — the indispensable bass note of any cinematographer’s melody — was a struggle to achieve on television screens. Limitations in capture, transmission and display have been overcome in no small part due to the stubborn vision of directors of photography including Roy Wagner, John Bartley and Bill Roe (“The X-Files”) and Jonathan Freeman (“Boardwalk Empire”).
The latest controversy involving a darkly lit “Game of Thrones” episode marks another stage in this evolution, but the main takeaway may be the astonishing extent to which the show’s fans are engaged — less-than-ideal home viewing conditions notwithstanding.
Fabian Wagner, the director of photography behind the episode that has millions discussing contrast ratios, says for every complaint he has heard, a dozen or more have communicated their compliments.
“The whole thing was driven by a creative decision to depict the subjective experience of being in a battle,” says Wagner.
The latest controversy involving a darkly lit “Game of Thrones” episode marks another stage in this evolution, but the main takeaway may be the astonishing extent to which the show’s fans are engaged — less-than-ideal home viewing conditions notwithstanding.
Fabian Wagner, the director of photography behind the episode that has millions discussing contrast ratios, says for every complaint he has heard, a dozen or more have communicated their compliments.
“The whole thing was driven by a creative decision to depict the subjective experience of being in a battle,” says Wagner.
- 5/30/2019
- by David Heuring
- Variety Film + TV
Ritesh Batra is back with his new film Photograph starring Nawazuddin Siddiqui and Sanya Malhotra. Photograph premiered at the Sundance Film Festival to critical acclaim, recently showcased at the New York Indian Film Festival where Batra was named Best Director and next month it is the closing night gala film of the prestigious London Indian Film Festival.
A subtle tale that is engaging, tender and full of the shades of love, Photograph tells the story of Rafi and Miloni and what happens when a grandson shows a grandmother a photograph of a stranger. He then asks this shy girl to pose as his fiancée during a family visit. How this transforms them is the crux of this softly told but wonderful film.
Let’s set the scene with the trailer
Stacey was able to catch up with Ritesh Batra for a fascinating conversation about films, actors, and shooting Photograph.
Giving...
A subtle tale that is engaging, tender and full of the shades of love, Photograph tells the story of Rafi and Miloni and what happens when a grandson shows a grandmother a photograph of a stranger. He then asks this shy girl to pose as his fiancée during a family visit. How this transforms them is the crux of this softly told but wonderful film.
Let’s set the scene with the trailer
Stacey was able to catch up with Ritesh Batra for a fascinating conversation about films, actors, and shooting Photograph.
Giving...
- 5/21/2019
- by Stacey Yount
- Bollyspice
Here is the Photograph movie review. Starring Nawazuddin Siddiqui and Sanya Malhotra, the Indian-American - German coming-of-age romantic comedy-drama is written, co-produced and directed by The Lunch Box fame Ritesh Batra. The movie is hitting the theatres today - March 15 2019 after having its world premiere at the 2019 Sundance Film Festival and the European premiere at the 69th Berlin International Film Festival. Is Ritesh Batra able to repeat the magic again in his come back to India? find out in Photograph movie review?
Immediate reaction when the movie ends
Ritesh Batra brings the audience and his lead characters in ?the mood for love? but fails in making them falling in love with Photograph.
The Story of Photograph
A struggling Mumbai street photographer Rafiq (Nawazuddin Siddiqui), is under pressure to get married by his grandmother played by Farrukh Jaffar. Rafiq convinces a stranger Miloni (Sanya Malhotra) to pose as his fianc?e during a family visit.
Immediate reaction when the movie ends
Ritesh Batra brings the audience and his lead characters in ?the mood for love? but fails in making them falling in love with Photograph.
The Story of Photograph
A struggling Mumbai street photographer Rafiq (Nawazuddin Siddiqui), is under pressure to get married by his grandmother played by Farrukh Jaffar. Rafiq convinces a stranger Miloni (Sanya Malhotra) to pose as his fianc?e during a family visit.
- 3/15/2019
- GlamSham
Six years after the international crossover success of “The Lunchbox,” along comes “Photograph” to prove, whatever Thomas Wolfe may think, that you can go home again. Writer-director Ritesh Batra’s first Indian film since his debut feature has the same quiet streak of wistful sentimentality that made “The Lunchbox” so globally beloved — and, for that matter, the same softly-softly humanity found in his two subsequent English-language efforts, “The Sense of an Ending” and “Our Souls at Night.” Whether roaming the streets of Mumbai or the plains of Colorado, Batra’s filmmaking has remained markedly consistent in tone and texture: You’d be hard pressed to find anyone making nicer films in world cinema right now.
That’s an easy quality to underrate, as is the modest but careful craftsmanship and muted but honest performance style that makes “Photograph” — a film itself about the rewards of patiently building on first impressions — a winsome diversion.
That’s an easy quality to underrate, as is the modest but careful craftsmanship and muted but honest performance style that makes “Photograph” — a film itself about the rewards of patiently building on first impressions — a winsome diversion.
- 1/28/2019
- by Guy Lodge
- Variety Film + TV
Street photographer Rafi (Nawazuddin Siddiqui) makes a living snapping tourists in front of the Gateway of India. He has a simple sales pitch: the sun you feel, the wind you hear, and the people around you will be gone when you leave, but you can keep the feeling with a single photograph. This detailed attention to the environment is also the greatest strength of Ritesh Batra’s Photograph, a lush, willfully low-key romantic drama that explores the age-old tale of how the class divide is a barrier for what the heart may desire.
Miloni (Sanya Malhotra) is a timid, charming student working towards her certification as a chartered accountant. One day she agrees to have her photo taken by Rafi, who takes a liking to her and is pressured by his social circles–and especially his grandmother–to find marriage. When Miloni agrees to be presented as his hopeful bride...
Miloni (Sanya Malhotra) is a timid, charming student working towards her certification as a chartered accountant. One day she agrees to have her photo taken by Rafi, who takes a liking to her and is pressured by his social circles–and especially his grandmother–to find marriage. When Miloni agrees to be presented as his hopeful bride...
- 1/28/2019
- by Jordan Raup
- The Film Stage
As he set out on Season 1 of Netflix crime drama Ozark, cinematographer Ben Kutchins’ challenging objective was clear: to visually shape a world that was both highly cinematic and “grounded at all times,” a world where brutal psychological and physical violence go hand in hand. Following a series of conversations with Jason Bateman—who directs and executive produces, while leading the cast—this notion of toeing a specific line manifested itself artistically in a variety of ways, in the series’ tone and overall aesthetic.
Centered on a Chicago financial advisor (Bateman) and his family who are forced to relocate to the Missouri Ozarks when drug cartel dealings take a bad turn, the series’ captivating imagery is always grounded in the Earth. Animals, dirt, grime, blood—these are all in play. With its fascinating title card—an O containing four enigmatic symbols, indicating the danger that’s to come—and its general visual approach,...
Centered on a Chicago financial advisor (Bateman) and his family who are forced to relocate to the Missouri Ozarks when drug cartel dealings take a bad turn, the series’ captivating imagery is always grounded in the Earth. Animals, dirt, grime, blood—these are all in play. With its fascinating title card—an O containing four enigmatic symbols, indicating the danger that’s to come—and its general visual approach,...
- 8/20/2018
- by Matt Grobar
- Deadline Film + TV
“I’ve always been interested in things that happen more in a rural setting,” admits cinematographer Ben Kutchins. “Most of the movies that I’ve shot to this point take place in an urban setting,” so when he was offered “Ozark,” he jumped at it. “I was raised in the country, so this was an opportunity to explore the darkness of my childhood as it were.” This year Kutchins received his career-first Emmy nomination for the series. Watch our exclusive video interview with him above.
See Jason Bateman (‘Ozark’) Emmy episode revealed for Best Drama Actor (Exclusive)
This Netflix drama centers on a Chicago-based financial adviser (Jason Bateman) who relocates his family to the Missouri Ozarks when his dealings with a drug cartel go awry. Kutchins competes for Best Cinematography for shooting the episode “The Toll,” which also brought Bateman a nomination for Best Drama Directing. And Bateman entered it...
See Jason Bateman (‘Ozark’) Emmy episode revealed for Best Drama Actor (Exclusive)
This Netflix drama centers on a Chicago-based financial adviser (Jason Bateman) who relocates his family to the Missouri Ozarks when his dealings with a drug cartel go awry. Kutchins competes for Best Cinematography for shooting the episode “The Toll,” which also brought Bateman a nomination for Best Drama Directing. And Bateman entered it...
- 8/3/2018
- by Zach Laws
- Gold Derby
As written and directed by Matt Ruskin, the tragic story of Colin Warner doesn’t so much come to life on the screen as it is responsibly recalled in Crown Heights, aided by effective performances and some streamlined storytelling. Adapted from the “This American Life” podcast episode titled “Diy,” Lakeith Stanfield plays Warner, a Trinidadian teenager living in Brooklyn wrongfully convicted of murder.
In April 1980, a young man named Marvin Grant is gunned down in Flatbush. In no time, 15-year old Clarence Lewis (Skylan Brooks) claims he witnessed Warner pull the trigger. On the basis of this and not much more, the cops and prosecution involved push a connection between Warner and Anthony Gibson (Luke Forbes), the man guilty of the crime. When all is said and done, Warner is sentenced to 15 years to life.
A true travesty of the American justice system, Ruskin appears determined to stay out of the way of the story,...
In April 1980, a young man named Marvin Grant is gunned down in Flatbush. In no time, 15-year old Clarence Lewis (Skylan Brooks) claims he witnessed Warner pull the trigger. On the basis of this and not much more, the cops and prosecution involved push a connection between Warner and Anthony Gibson (Luke Forbes), the man guilty of the crime. When all is said and done, Warner is sentenced to 15 years to life.
A true travesty of the American justice system, Ruskin appears determined to stay out of the way of the story,...
- 1/27/2017
- by Dan Mecca
- The Film Stage
As part of Indiewire's "How I Shot That" series, we spoke with Ben Kutchins about how he shot Leslye Headland's "Sleeping Other People," which features Alison Brie and Jason Sudeikis as two former college lovers who meet at a group for sex addicts. The film, which premiered at Sundance 2015, hits theaters today. Read More: Jason Sudeikis on How and When to Improv in a Movie What camera and lens did you use? I used an Arri Alexa with Panavision Primo anamorphics. Most of the film was shot on the 50mm Primo Anamorphic, but we had a couple lighter weight G-Series lenses for Steadicam and handheld. This was the most difficult shot on my movie, and this is how I pulled it off: I remember the lighting was particularly challenging in one scene that takes place at dawn in Jake's (Jason Sudekis) apartment. I wanted a really cold early morning...
- 9/11/2015
- by Paula Bernstein
- Indiewire
Read More: How I Shot That: Ben Kutchins on Filming 'Sleeping with Other People' The done-to-death story about a will-they-won't-they platonic relationship is getting a naughty facelift in Leslye Headland's "Sleeping With Other People," which drew critical acclaim at its Sundance premiere earlier this year. Writer-director Headland first showed her feisty comic spirit in her 2012 debut "Bachelorette," and it looks like she's kicking things up a notch with September's raunchy comedy starring Alison Brie and Jason Sudeikis. The pair star as Lainey and Jake, two sex addicts who lost their virginity to one another in college and meet cute at a sex addict support group gathering years later. In order to support their recovery, the two enter into a platonic relationship and go about their lives sleeping with other people. Any fan of the genre can tell you what happens next, though Headland's voice should make the typical blossoming love feel fresh.
- 8/11/2015
- by Zack Sharf
- Indiewire
The directors of “Bachelorette” and “Miss Representation” return to Sundance with, respectively, a brilliantly bawdy comedy and a vital look at how our culture raises...
I try not to make sweeping pronouncements about Sundance movies until I’m back at sea level, and my brain is receiving its usual amounts of oxygen; there’s something about the air up here that can occasionally lead to irrational exuberance. (Google “The Spitfire Grill” or “Happy, Texas” if you don’t know what I mean.)
Even though I’m still in Park City, Utah, (and panting when I walk up hills) I’ll...
I try not to make sweeping pronouncements about Sundance movies until I’m back at sea level, and my brain is receiving its usual amounts of oxygen; there’s something about the air up here that can occasionally lead to irrational exuberance. (Google “The Spitfire Grill” or “Happy, Texas” if you don’t know what I mean.)
Even though I’m still in Park City, Utah, (and panting when I walk up hills) I’ll...
- 1/26/2015
- by Alonso Duralde
- The Wrap
"Cinematography is kind of a hidden art, even though it's the most visible. It's mysterious," said film critic Eric Hynes in introducing Tribeca Talks Industry: Shooting the Film: An Exploration of Cinematography earlier this week. "You could attribute everything to cinematography...or nothing." Hynes was gathered with a select group of cinematographers with films at this year's Tribeca Film Festival, including Nick Bentgen ("Ballet 422," "Teenage"), Zachary Heinzerling ("Cutie and the Boxer"), Luke Geissbühler ("Match," "Beyond the Brick: A Lego Brickumentary") and Ben Kutchins ("Lucky Them") to discuss and demystify the art of cinematography -- as well as the technical side. Relying on clips from each filmmaker's work, Hynes led a discussion that ranged from filmmakers' training to how they like to collaborate with directors. Here are 4 highlights from the Masterclass: 1. So much of cinematography is about collaboration -- with the director, the actors and the crew. "I love my.
- 4/23/2014
- by Paula Bernstein
- Indiewire
Austin - It was smack dab in the middle of last year's SXSW festival that "Veronica Mars" made news with their massively successful Kickstarter campaign, so it seems only right that they would bring the film to premiere at the festival this year. As someone who enjoyed the show enormously while it was on the air, I am relieved to report that the film felt to me like it successfully recaptured the spirit of the show's first season. My only question at this point is how it will work for audiences who didn't see the show, which, based on the ratings, would seem to be pretty much everyone. In the series, Veronica was a typical 15-year-old girl living in Neptune, California, a small community with a pronounced class struggle going on, until her best friend Lilly Kane (Amanda Seyfried) was murdered. Veronica's father Keith (Enrico Colantoni) was Neptune's sheriff, and...
- 3/8/2014
- by Drew McWeeny
- Hitfix
As a die hard fan of the "Veronica Mars" television series, which ran for three largely ignored seasons on the Upn/CW, I was already excited about the prospect of the movie, which after failing to gain momentum for many years was suddenly pushed through in a bust of activity that culminated in a Kickstarter campaign more successful than any similar attempt before or since. But I was also kind of nervous -- that maybe creator Rob Thomas should have left well enough alone and that three seasons of a peerless television series could be undone by one very lousy movie. But now that the first real trailer for the film has debuted, these fears seem to be largely unfounded. In short: it looks terrific.
While word was always that Veronica Mars ("Frozen" star Kristen Bell), a former teenage private eye, would be returning to her hometown of Neptune to...
While word was always that Veronica Mars ("Frozen" star Kristen Bell), a former teenage private eye, would be returning to her hometown of Neptune to...
- 1/3/2014
- by Drew Taylor
- Moviefone
"How did you end up here?" "You have issues." "Dude, you're sensitive." "Rule #4: Noodles." -- Actual lines of dialogue from the movie under consideration. Beautifully polished, tremendously glossy, and absolutely meaningless, The Art of Getting By, known as Homework when it premiered at Sundance in January, could just as easily have been retitled "The Commerce of Faking Indie." Every line of dialogue rings hollow, every character is inauthentic, every performance is unconvincing. But, damn, the movie sure looks good. For that, all hail Ben Kutchins, director of photography, and his team. Kutchins recently shot Holy Rollers, a period drama set mostly in Brooklyn that was anything but glamorous. Here the setting moves (mostly) to the modern day Upper West Side of Manhattan, and...
- 6/17/2011
- Screen Anarchy
[1] If you’ve been reading this site for any regular period of time, you know that I’m a sucker for coming of age films -- especially the brand of indie romdrams that usually play at the Sundance Film Festival. Gavin Wiesen’s feature directorial debut Homework premiered this week at the festival, and quickly sold to Fox Searchlight (my indie mini-major of choice). Homework tells the story of George (played by former child star Freddie Highmore), a lonely underachieving teen who is about to fail high school in the end of his senior year. He is befriended by his crush, a girl named Sally, but he is unable to express his feelings for her. His parents are fighting, and he must complete a year's worth of homework in a two week period or face expulsion. And did I mention that the story is set in New York City and...
- 1/27/2011
- by Peter Sciretta
- Slash Film
Showtime Independent Films
PARK CITY -- Jacob Kornbluth's "The Best Thief in the World" belongs in the childhood-in-peril genre, where family tensions or adult problems threaten to rob a youngster of his childhood. The adolescent here is 11-year-old Izzy (quietly effective newcomer Michael Brandon Silverman), who feels the world closing in on him when his dad (David Warshofsky) suffers a paralyzing stroke and his English-teacher mom (Mary-Louise Parker) is overwhelmed by insurance problems and a lousy paycheck while struggling to raise three children in a cramped New York tenement.
Almost all of Izzy's escapes self-destructive. Sometimes he stands on the small ledge bordering the roof of their building as if daring his body to fall off. Other times, he breaks into apartments through open windows to wreck havoc, scrawl obscenities and steal things.
Once these unfortunate circumstances become established, however, it is writer-director Kornbluth who seems paralyzed. The narrative stalls in this Sundance Competition film as the break-ins and family turmoil keep repeating themselves. An audience clearly understands that the mom, despite being a schoolteacher, lacks the social skills to cope with a misbehaving son. And the son keeps pushing the envelope without ever coming to terms with circumstances that he is bright enough to realize are beyond his parents' control.
One interesting sidebar is Izzy's involvement with neighborhood kids, most of whom are black. It is rare when a white kid in a movie feels alienated because of color. Kornbluth creates a kind of Greek chorus in which two very young black kids rap obscene lyrics while clowning for the camera, a sound and image the director returns to repeatedly to underscore how black hip-hop culture dominates the younger generation.
Budget constraints limit the film's locations, but Kornbluth makes the resulting claustrophobia work for the film. Ben Kutchins' DV cinematography is resourceful, but colors in interior scenes often appear washed-out.
Credits...
PARK CITY -- Jacob Kornbluth's "The Best Thief in the World" belongs in the childhood-in-peril genre, where family tensions or adult problems threaten to rob a youngster of his childhood. The adolescent here is 11-year-old Izzy (quietly effective newcomer Michael Brandon Silverman), who feels the world closing in on him when his dad (David Warshofsky) suffers a paralyzing stroke and his English-teacher mom (Mary-Louise Parker) is overwhelmed by insurance problems and a lousy paycheck while struggling to raise three children in a cramped New York tenement.
Almost all of Izzy's escapes self-destructive. Sometimes he stands on the small ledge bordering the roof of their building as if daring his body to fall off. Other times, he breaks into apartments through open windows to wreck havoc, scrawl obscenities and steal things.
Once these unfortunate circumstances become established, however, it is writer-director Kornbluth who seems paralyzed. The narrative stalls in this Sundance Competition film as the break-ins and family turmoil keep repeating themselves. An audience clearly understands that the mom, despite being a schoolteacher, lacks the social skills to cope with a misbehaving son. And the son keeps pushing the envelope without ever coming to terms with circumstances that he is bright enough to realize are beyond his parents' control.
One interesting sidebar is Izzy's involvement with neighborhood kids, most of whom are black. It is rare when a white kid in a movie feels alienated because of color. Kornbluth creates a kind of Greek chorus in which two very young black kids rap obscene lyrics while clowning for the camera, a sound and image the director returns to repeatedly to underscore how black hip-hop culture dominates the younger generation.
Budget constraints limit the film's locations, but Kornbluth makes the resulting claustrophobia work for the film. Ben Kutchins' DV cinematography is resourceful, but colors in interior scenes often appear washed-out.
Credits...
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