Willem Dafoe in At Eternity’s Gate. Photo: CBS Films Less than ten minutes into At Eternity’s Gate, director Julian Schnabel’s biographical reimagining of the final days of Vincent van Gogh (which premiered at the Venice International Film Festival last month and hits theaters November 16), the camera does a curious thing. In the sequence, we see Willem Dafoe as the Dutch Post-Impressionist returning to his tiny Arles domicile — he’s cold and dripping wet from painting en plein air during a thunderstorm. Suddenly, the shaky, handheld camera pulls in jarringly close to his face and lingers there for what seems, by most movie standards, an eternity. The screen is consumed by the hollows of Dafoe’s cheeks, the deep-set furrows in his brow, the arcing wrinkles etched around his mouth; his tightly shut eyelids hallmark the tortured artist. Then, without warning, the camera flips onto its side. And the van Gogh visage goes horizontal, filling up at least 95 percent of the screen: the most extreme of extreme movie close-ups. “There are moments when the camera feels like an intruder,” says At Eternity’s Gate cinematographer Benoit Delhomme. “It can be like a microscope. The way I was using close-ups in this… Read full this story
- The defining fighting game moments of 2016
- Thor Review
- Uncharted: Remastered, revisited, reassessed
- Opinion: 2009 - The Last Days of the Japanese RPG?
- This Week In Video Game Criticism: From to outsider criticism
- Star Wars Battlefront II’s Loot Boxes Issue Won’t Change EA’s Strategy; Cosmetics Might Break Canon
- OPINION The Coming Visual Computing Revolution
- OPINION The Big Tech Stories of 2015
Extreme Close-ups Are Defining the Current Movie Moment have 263 words, post on www.vulture.com at November 7, 2018. This is cached page on Movie Breaking News. If you want remove this page, please contact us.