Nia DaCosta’s remake of Bernard Rose’s 1992 urban-legend classic was ultimately more interested in subverting its source material than being scary, for better and worse. The New ‘Candyman’ Is Haunted by the Original Candyman Directed by Nia DaCosta (Universal) Universal Without putting too fine a point on its meanings, the shot sums up the aching, melancholy atmosphere of a rock musical attuned to sensations of yearning, filled with characters whose sight lines, like their desires, exceed their grasp. What Annette sees in the moon, meanwhile, is even more ambiguous-a vision as shrouded in mystery as the fog rolling in off the water. His back to the camera, motives unknowable, he’s made into a looming predatory presence rather than sharing his point of view, we’re observing it. What Henry perceives in the distant enchanted figure of Annette-a wooden girl with an angelic voice-is an avatar of his failures as a husband and a protector, as well as a potential meal ticket. The distance between the pair is exaggerated by Carax’s ingenious use of blocking and focus they’re survivors but still very much in danger.
Washed up on a rock after a boating accident that claimed the life of his wife Ann, Adam Driver’s caustic stand-up comic Henry McHenry sees their daughter Annette looking at the moon. As befits a fable about the ravages of celebrity and fame, they’re blinded by the stars in their eyes. Time and again in Annette, Leos Carax catches his characters-human and marionette alike-gazing off toward some distant vanishing point. Annette Directed by Leos Carax (Amazon Studios) Amazon Studios Here are 10 frames from 2021 that were already living rent-free in my mind’s eye. For me, it’s the feeling that comes when you’re looking at something for the first time but it already feels like an instant replay-like something that had always been there. As usual, this list is anything but definitive, and the question of what makes for a great shot is deeply subjective.
Best cinematography shots of all time how to#
In 2021, the screens got big again, and the most powerful viewing experiences came courtesy of movies-and directors-who knew how to fill them, whether with rapturous close-ups, dazzling camera movement, or looming, lunar expanses of negative space. It’s the screens that got small,” I wrote last year while inventorying 2020’s best shots.
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