cinematography Archives - Page 2 of 2

Director – Jóhann Jóhannsson – 2020 – Iceland – 71m

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Available on BFI Player (extended free trial offer here) from Thursday, July 30th

This is the only feature directed by the late and renowned composer Jóhann Jóhannsson who has been releasing albums since Englabörn (2002) and has provided the soundtracks for such films as The Miners’ Hymns (2010), The Theory Of Everything (2014), Sicario (2015) and Arrival (2016). Last And First Men was originally a multimedia project performed in Manchester International Festival in 2017 with the BBC Philharmonic orchestra. While its appearance on BFI Player is most welcome, there are plans to tour the film with a live orchestra in the future.

To describe the film as based on or an adaptation of Olaf Stapledon’s cult SF novel Last And First Men: A Story Of The Near And Far Future (1930) is both accurate and misleading. Accurate because the scripted monologue spoken by Tilda Swinton (a terrific voice performance that would be a pleasure to listen to on its own, no other sounds or images) which runs throughout the film is adapted from that source. Misleading because the film largely comprises live action cinematography of architecture beneath skies in rural landscape against a soundtrack of Jóhannsson‘s specially composed music and Swinton’s narration.… Read the rest

Dead Ringers

Director – David Cronenberg – 1988 – Canada – Cert. 18 – 116m

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Originally published in Samhain.

When David Cronenberg was in the UK to promote The Fly late in 1986, he talked about a project called Twins which concerned two identical twins who fall in love with the same woman. At the time, no-one thought he was serious.

Two years later, the film has appeared (under the appalling title Dead Ringers, since there was another Twins in production elsewhere). Cronenberg denies that the new film is science fiction or horror, or even fantasy. Yet (if one wants to play the auteur game) parallels can be drawn with certain of his earlier films.

Dead Ringers bears a great resemblance not so much to the commercial Cronenberg schlock oeuvre as to the art films of the late sixties from which he has in recent years dissociated himself on the grounds that they were not real movie movies; however, both Stereo (1969) and Crimes Of The Future (1970) were shot on University Campuses with bleak, modernist architecture – and the same setting forms the backdrop to several Cronenberg features, most notably Scanners. Such architecture is more prominent in Dead Ringers than in any previous Cronenberg commercial feature.… Read the rest