And though I typically refrain from saying anything about my favorite shots of the year, just letting them speak for themselves, this last shot, my favorite shot of the year, culled from and culminating Jennifer Kent’s “The Nightingale”, might appear in and of itself, as nothing special, just a sunrise, looking out across the expanse of the Pacific Ocean. It’s not just the shot, though, as none of these are, but how it marries its themes to the image, laying bare the one bromide that frustrates me the most – that is, The Sun Still Rose. Culminating an arduous 136 minutes, set sometime in 1820s Tasmania, during The Black War, when British colonists were essentially committing genocide against the Aboriginal Tasmanians, this shot sees the sun rising, true enough, and ferociously asks, “Yeah? So what?”
Friday, January 03, 2020
A Few of My Favorite Movie Shots in 2019
And though I typically refrain from saying anything about my favorite shots of the year, just letting them speak for themselves, this last shot, my favorite shot of the year, culled from and culminating Jennifer Kent’s “The Nightingale”, might appear in and of itself, as nothing special, just a sunrise, looking out across the expanse of the Pacific Ocean. It’s not just the shot, though, as none of these are, but how it marries its themes to the image, laying bare the one bromide that frustrates me the most – that is, The Sun Still Rose. Culminating an arduous 136 minutes, set sometime in 1820s Tasmania, during The Black War, when British colonists were essentially committing genocide against the Aboriginal Tasmanians, this shot sees the sun rising, true enough, and ferociously asks, “Yeah? So what?”
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1 comment:
Great picks. The final shot of The Irishman was such a doozy. Loved it.
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