[agonyofdespair]

Body Heat (1981)

dir. by Lawrence Kasdan

[emotional-detonation]

"Body Heat" (1981) dir. Lawrence Kasdan

[lisamarie-vee]

[emotional-detonation]

William Hurt as Ned Racine in "Body Heat" (1981) dir. Lawrence Kasdan

[neonfeel]

Body Heat (1981)

[emotional-detonation]

"Body Heat" (1981) dir. Lawrence Kasdan

[latamcinema]

Gael García Bernal as Octavio in Amores Perros (2000) dir. Alejandro González Iñárritu

[emotional-detonation]

"Amores Perros" (2000) dir. Alejandro González Iñárritu

[gael-garcia]

Amores perros (2000)

[emotional-detonation]

"Amores Perros" (2000) dir. Alejandro González Iñárritu

[latamcinema]

AMORES PERROS (2000) —dir. Alejandro González Iñárritu

[emotional-detonation]

"Amores Perros" (2000) dir. Alejandro González Iñárritu

[serpentinesheldonserpentine]

[emotional-detonation]

Bryan Ferry of Roxy Music

[isolar-2]

[emotional-detonation]

Bryan Ferry of Roxy Music

[icemankazansky]

BLUE MY MIND (2017) dir. Lisa Brühlmann

Special effects makeup and prosthetics by Julia Heppner and Jenny Marolf

@pscentral​ event 38: costume appreciation

[emotional-detonation]

"Blue My Mind" (2017) dir. Lisa Brühlmann

[cinematicjourney]

Blue My Mind (2017) | dir. Lisa Brühlmann

[emotional-detonation]

"Blue My Mind" (2017) dir. Lisa Brühlmann

[annoyingthemesong]

SUBLIME CINEMA #703 - THE SHELTERING SKY

Vittorio Storaro's collaboration with Bertolucci was as important as his collaboration with Coppola, although there were differences in each approach. Whereas Coppola favored a variety of wild psychedelic tones for Apocalypse Now and One From The Heart, Storaro gradually reduced color in his later work with Berlotucci, most spectacularly in the Last Emperor. He opted for washed out tans and reds, using a kit of straw, amber and sepia filters - evoking heat, memory and emotion.

This was before digital intermediates, and many of Storaro's tricks were done in camera or chemically (he often would overexpose then stop down in the lab which created an otherworldly, luminous quality.) He used silk and muslin diffusion, tobacco and chocolate filters on his lenses, which warmed the highlights, creating an aesthetic which often looked 'baked in the sun'. A technique still often used (most notably by Janusz Kaminski) is the netting behind the lens, sheer fabric which scatters highlights and softens edges.

This work just doesn't really exist these days. In the era of fast digital, intermediates and digital post production - in camera work is barely done except in niche corners of cinema. The trade is being lost. But watching this movie evokes enormous emotion, largely because of how the photography transports us to another world. When we lose the techniques, we lose the emotion too.

[emotional-detonation]

"The Sheltering Sky" (1990) dir. Bernardo Bertolucci

[filmap]

The Sheltering Sky Bernardo Bertolucci. 1990

Cafe Cafe Colon, Rue de la Kasbah, Tangier, Morocco See in map

See in imdb

[emotional-detonation]

"The Sheltering Sky" (1990) dir. Bernardo Bertolucci

[upwardsdescensum]

[emotional-detonation]

"Noriko's Dinner Table" (2005) dir. Sion Sono

[upwardsdescensum]

[emotional-detonation]

"Noriko's Dinner Table" (2005) dir. Sion Sono

[hanabi42-blog1]

Noriko’s Dinner Table (2005)

[emotional-detonation]

"Noriko's Dinner Table" (2005) dir. Sion Sono

[meetmeinthesandbox]

[emotional-detonation]

J Mascis of Dinosaur Jr

[jweisbaum]

[emotional-detonation]

J Mascis of Dinosaur Jr in the 90s