Stalker (1979) is famously not an “easy” watch. It’s long, it’s agonizingly slow, and it refuses to give you a straight answer. It asks you to just sit with it and let the atmosphere wash over you. But it’s a revelation because… Read More »Stalker (1979) – Cinematography Analysis
Usually, when I analyze a film, I’m looking immediately at the grade or the lens choice. But with Roman Polanski’s 1968 classic Rosemary’s Baby, the cinematography does something insidious: it gaslights you alongside the protagonist. It isn’t just a scary… Read More »Rosemary’s Baby (1968) – Cinematography Analysis
When I first watched Barry Lyndon, I wasn’t just looking at a movie; I was looking at a series of 18th-century oil paintings that somehow learned to move. It’s a film that demands patience, but the payoff is a visual education… Read More »Barry Lyndon (1975) – Cinematography Analysis
To call The Bridge on the River Kwai a “war movie” feels like a disservice. It’s a psychological thriller disguised as an epic. While the backdrop is the brutal reality of a World War II Japanese POW camp, the real battlefield is… Read More »The Bridge on the River Kwai (1957) – Cinematography Analysis
Most people remember Dr. Strangelove for Peter Sellers’ legendary triple performance or the dark satire. But as a filmmaker and the owner of Color Culture, I find myself obsessing over something else entirely: the density of the blacks and the geometry of… Read More »Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb- Cinematography Analysis