Re-watching Ingmar Bergman’s Fanny and Alexander (1982) isn’t just research for me; it’s a pilgrimage.This was Bergman’s intended farewell to cinema, and he left everything on the screen. A quick tip: ignore the three-hour theatrical version. It’s fine, but if you want… Read More »Fanny and Alexander (1982) – Cinematography Analysis
Whenever I revisit Butch Cassidy and the Sundance Kid (1969) ,I’m struck by how it defies the “aging” process. Released in 1969, it sits right on the cusp of the New Hollywood era a film that respects the Western genre while… Read More »Butch Cassidy and the Sundance Kid (1969) – Cinematography Analysis
Wim Wenders’ 1984 classic, Paris, Texas reckons with the inescapable truth that, as Confucius said, “Wherever you go, there you are.” For Travis Henderson, this isn’t philosophy; it’s a reality etched into the celluloid. The cinematography actively drives the storytelling, guiding… Read More »Paris, Texas (1984) – 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
Watching Ben-Hur forces me to shift gears completely. It requires a different mindset, one that appreciates a time when the “look” wasn’t something you dialed in later—it was baked into the negative on the day, under the blazing sun. When I watch… Read More »Ben-Hur (1959) – Cinematography Analysis
It takes a lot to pull me out of “analysis mode” and just let me enjoy a film, but Denis Villeneuve’s Blade Runner 2049 managed it. It’s not just a sequel; it’s a benchmark. It’s the kind of movie that reminds… Read More »Blade Runner 2049 (2017) – Cinematography Analysis
Come and See (1985), Elim Klimov’s anti-war opus, does the exact opposite. It isn’t a film I just admire; it’s a film that scares me. It is a masterclass in how cinematography and color can weaponize the frame to inflict a… Read More »Come and See (1985) – Cinematography Analysis