Video Essay: 135 Shots That Will Restore Your Faith in Cinema [UPDATED]

L’uso del colore al cinema: l’esempio di Brooklyn Scritto da Federica Polidoro | giovedì, 3 marzo 2016 · 0 Stati Uniti, seconda meta degli Anni ’50: Saoirse Ronan interpreta un’immigrata irlandese. Il film è Brooklyn di John Crowley. Non è un caso se l’attrice è stata candidata all’Oscar come protagonista. Brooklyn. L’USO DEL COLORE NEL FILM La prima parte è quella in cui Eilis, la protagonista, si trova in Irlanda: le inquadrature sono strette, vagamente claustrofobiche, e i toni danno sul verde. Brooklyn. - Federica Polidoro

6 Filmmaking Tips From Christopher Nolan Born in July of 1970, Christopher Nolan was always sort of made for Summer. As an adult, that promise has been fulfilled with blockbuster spectacles in the hot months, but it all started when he was a child. It was then that he picked up the drug that became an obsession for the rest of his life: a Super 8 camera. The result of those early ambitions and the study of storytelling in college led him to create shorts, build a feature in Memento that drew acclaim, and to embark on a studio career that has blended intelligence with popular culture. So here’s a bit of free film school (for fans and filmmakers alike) from a man who is waiting for a train… Take the Time to Meet Raw Festival Talent How do you hook up with a talented cinematographer like Wally Pfister? A little networking at festivals can help. Next time you’re impressed by someone else’s work at a festival, go tell him or her. Understand Every Job on Set Real Places Add Credibility Be a Lover of Movies First What Have We Learned

Animated Short Movies » Life-Changing Arts Movie shorts, or short animations are a unique form of art, which can inspire and enlighten just like any other art form. Sometimes even more so. Here is a selection of inspiring, or for some reason animated short movies, here shown in their original full length. Thanks to all the visitors who have contributed with their detailed suggestions! That is why there are now two pages of great animated shorts! If you think there is a short animated movie that should be added, let us know which, and why. The below movies are not sorted in any particular order. French Toast Written and directed by Fabrice O. The Lady and the Reaper Written and directed by Javier Recio Gracia Get Out By Charlotte Boisson, Julien Fourvel, Pascal Han-Kwan, Tristan Reinarz and Fanny Roche Granny O'Grimm Directed by Nicky Phelan, produced by Brown Bag Films Oktapodi By Julien Bocabeille, Francois-Xavier Chanioux, Olivier Delabarre, Thierry Marchand, Quentin Marmier and Emud Mokhberi Big Buck Bunny Life Line Created by Tomek Ducki

La mostra su "Blow-Up" Dal 13 settembre fino al 30 novembre 2014 il museo di fotografia di Winterthur, in Svizzera, ospita una mostra dedicata al film Blow-up del regista Michelangelo Antonioni, uscito nel 1966 e interpretato tra gli altri da David Hemmings, Vanessa Redgrave e Jane Birkin. Il film, ispirato al racconto Le bave del diavolo dello scrittore argentino Julio Cortázar, è stato uno dei più premiati tra quelli di Antonioni (ha vinto la Palma d’Oro al Festival di Cannes nel 1967) e racconta la storia di un fotografo di moda londinese, Thomas, che crede di scoprire le prove di un omicidio ingrandendo una foto scattata per caso a due amanti in un parco.

Alfonso Cuaron and the Art of Long Takes: the ‘Children of Men’ Example [A bit of an unorthodox way to open an article but I felt like starting with an in media res visual.] Alfonso Cuaron is a director with a unique visual style that I have been following since Great Expectations and who gained global fame when he practically ‘rebooted’ the Harry Potter series (esthetically speaking) and when his dystopian sci-fi Children of Men came out, rejuvenating the genre. Long takes have a key role in Children of Men and it turns out there are 154 of them, from 22 seconds up to 378 seconds! Refocused Media published a great video showing back to back all the long takes lasting 45 seconds or more in Children of Men resulting in 16 scenes and 30 minutes of footage! But here is more: You can watch below a nicely done 7 minute making-of focusing on the 247 seconds car scene that forced Cuaron and his team to be creative and built a never-made before rig, as well on the how and why of the long takes. I am definitely looking forward to seeing this one. Consider Subscribing:

15 Amazing Animated Short films We all love short animated films, but creating short film is very hard task. Putting whole story in 5 to 10 minutes is not easy. Can you imagine? Few films produced after working hard more than 6 years! Here we collected 15 dazzling animated short films for your inspiration. You can find different genres in these movies like heart-touching film One life, frightening film The Passenger. I bet you will love these short animated movies, do let us know your favorite one, also feel free to share your favorite short film if it’s not present in the list. Granny O’Grimm’s Sleeping Beauty Oscar-nominated film of ‘Granny O’Grimm’, directed by Nicky Phelan, produced by Brown Bag Films, and written/voiced by Kathleen O’Rourke. Oktapodi (2007) In Oktapodi, these two cuties help each other escape the clutches of a tyrannical restaurant cook. This Side Up – A Short Animation by Liron Topaz Oxygen Oxygen tries to make friends on the playground. “Heavenly Appeals” a short film by David Lisbe Bunny Animation

Non essere cattivo – La fotografia di Maurizio Calvesi - BNL Presenta - We Love Cinema Di Gianni Canova Che colore ha la disperazione? Che luce illumina il destino? Se stai a Ostia, tra le baracche sulla spiaggia e le case popolari dell’estrema periferia, i giorni hanno il colore freddo di un sole pallido e smorto e le notti il nero torbido di un fondo di caffè. Così Maurizio Calvesi ha fotografato l’ultimo, intenso film di Claudio Caligari, presentato alla Mostra di Venezia come estremo omaggio al regista, scomparso lo scorso 26 maggio all’età di 67 anni. Autore di soli tre film (Amore tossico del 1983, L’odore della notte del 1998 e ora questo postumo Non essere cattivo), Caligari è uno dei “maledetti” del cinema italiano, l’ultimo autentico erede di Pasolini per la passione con cui racconta le vite perdute dei ragazzi di borgata, quelli che sbranano la vita con rabbia, e se ne fanno sbranare, fra sniffi, sballi, risse, violenze ed emarginazione. Siamo a Ostia nel 1995. Cesare e Vittorio si fanno. Vite allo sbando, vite che cercano un riscatto. (Foto: Matteo Graia)

InCamera Web Exclusive: The Tree Of Life From left: Jessica Chastain, Tye Sheridan, and Brad Pitt in The Tree of Life. (Photo by Merie Wallace © 2011 Twentieth Century Fox Film Corporation) Sean Penn in The Tree of Life. (Photo by Merie Wallace © 2011 Twentieth Century Fox Film Corporation) Tree of Life is described as the journey from the innocence of childhood to a disillusioned adulthood, and the quest to regain meaning in life. The film, which premieres at Cannes, stars Brad Pitt, Sean Penn and Jessica Chastain. Malick is a master whose credits also include Badlands, Days of Heaven and The Thin Red Line. For Tree of Life, Lubezki once again used a mix of 35 mm film and regular 65 mm, as well as the huge IMAX™ format. In the following conversation, Lubezki explains his collaborative with Malick and the thought processes that led to their decisions. How does working with Terrence Malick differ from other shoots? Does shooting film help you make that approach work? Why did you choose 65 mm for some scenes?

Meduse, comete e piani sequenza: i significati e il finale di Birdman secondo il regista - BadTaste.it In occasione di una retrospettiva organizzata da Landmark Theater, Alejandro González Iñárritu e il direttore della fotografia Emmanuel Lubezki hanno parlato degli aspetti più intriganti legati alla produzione di Birdman (o Le Imprevedibili Virtù dell’Ignoranza). I due, nello specifico, hanno parlato delle motivazioni dietro la decisione di optare per un piano sequenza unico (spezzato esclusivamente nel caso della cometa e delle meduse) e dell’ambiguo finale che ha diviso critica e spettatori. Vi proponiamo le loro dichiarazioni, grazie a Collider, qui di seguito. Sul piano sequenza unico: IÑÁRRITU: Ho avuto l’idea del piano sequenza non appena mi sono reso conto che il film parlava di ego. Sapevo che andava narrato da una prospettiva precisa, che doveva essere particolarmente soggettivo. LUBEZKI: In tutta onestà, ero molto preoccupato. IÑÁRRITU: Nella vita siamo intrappolati in un continuum temporale. Sulle immagini della cometa che spezzano il piano sequenza: Sul cinema di oggi: