There’s a distinct pleasure in revisiting foundational texts like Frank Capra’s It Happened One Night (1934) It’s less like watching a movie and more like an archaeological dig into the bedrock of our craft. For me, dissecting Joseph Walker’s cinematography isn’t… Read More »It Happened One Night (1934) – Cinematography Analysis
Spike Lee’s Do the Right Thing (1989) is unequivocally one of those films for me. Thirty-five years later, its portrayal of a sweltering summer day where racial tensions reach a boiling point remains disturbingly relevant. It’s a masterclass in how visual language… Read More »Do the Right Thing (1989) – Cinematography Analysis
Bowling for Columbine (2002) when you look at a Michael Moore film, you realize pretty quickly that “pretty” isn’t the point. Moore doesn’t do delicate visual poetry; he uses the camera like a blunt-force tool for investigative journalism. It’s raw,… Read More »Bowling for Columbine (2002) – Cinematography Analysis
Ingmar Bergman’s Wild Strawberries (1957) is exactly that. Released in the same insane year as The Seventh Seal, it’s a masterclass in visual psychology. It’s the kind of film that gets under your skin not because of a flashy plot, but because of… Read More »Wild Strawberries (1957) – Cinematography Analysis
Federico Fellini’s 8½ (1963), This isn’t just a movie; it’s a mirror. It’s a swirling, dreamlike exploration of a director’s mind literally unraveling under the pressure of his own reputation. From a visual standpoint, it’s a total masterclass—essentially the Italian Citizen Kane of the… Read More »8½ (1963) – Cinematography Analysis
Andrew Lau and Alan Mak’s 2002 Hong Kong crime epic, Infernal Affairs, is exactly that kind of film. It’s a masterclass in visual storytelling a lean, mean psychological thriller that trades flashy theatrics for a slow-burn emotional resonance. In the West,… Read More »Infernal Affairs (2002) – Cinematography Analysis
Ingmar Bergman’s 1966 masterpiece Persona isn’t just a movie to me; it’s a seismic event. It’s been called the “Mount Everest of Cinema,” and for good reason. For anyone who lives and breathes the language of light and shadow, this film is… Read More »Persona (1966) – Cinematography Analysis