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
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
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
Rebecca (1940) is a masterclass in visual design that proves you don’t need a single drop of color to terrify an audience.This was Hitchcock’s first American feature and his only Best Picture winner. But for me, it’s not just a… Read More »Rebecca (1940) – Cinematography Analysis
Park Chan-wook’s “The Handmaiden” (2016), While casual viewers might get caught up in the labyrinthine plot or the “erotic thriller” label, for me, this film is a study in precision a “painterly” experience where every frame feels intentional. It is… Read More »The Handmaiden (2016) – Cinematography Analysis
It’s been over two decades since Park Chan-wook unleashed Oldboy, and frankly, it still schools most modern productions on how visual language should work. I’ve been staring at scopes and grading monitors for years, but every time I revisit this film,… Read More »Oldboy (2003) – Cinematography Analysis