Hi,can you tell us your opinions about artistic aspects of CMBYN? Especially directing&cinematography. I haven't watched the film, but as what I saw, it seems that Luca often keeps the shot quite long for the whole scene/action instead of using more cuts. It seems he prefers wide/medium shots to show (quite distantly :-S) the characters interact to each other & with surroundings. Close-up shots are less often? What do U think about lighting, camera movements, lens 35 & film s35 he&his DOP used?
Luca, the editors, and the DOP all understand that moviegoers these days have a trained eye when it comes to films. They don’t need to be guided through the story using editing. More frequent cuts/shots tells the viewer what’s important and what’s not, but it seems that Luca is content to let the story unfold in longer takes, allowing every movement, gesture, touch, look, etc. to contribute to our understanding of the film. More frequent cuts/shots also translates into a faster-paced film; the tone of the film is languid, therefore the editing is reflective of that. The longer shots not only slow the pace but they allow the viewers’ eye to roam, to take in the character’s surroundings. It’s important to note that their surrounding is also a character. As Dave Hood has said:
In creative nonfiction, the place or location where the event or experience took place is more than just about the name of the place. It is also the physical location of the place, the physical attributes, such as the urban setting of crowds, pollution, public transit, traffic jams or the rural setting of open spaces, fewer people, fields, farms, and small communities. In writing about travel, place is much more than the physical location. It is about the culture, language, values, morals, beliefs, customs, cuisine, traditions, and way of life.
Just something to think about. Now on to framing. There are a few close up shots of Elio and Oliver, but that’s only when they’re wrapped up in their own thoughts:
Close ups can create a sense of intimacy or constraint or even alienation (depending on the context). The wider shots definitely allow the viewer to see how the characters interact with each other and their surroundings, but also show the spatial relationship between the characters within that surrounding. For example, in this scene:
Elio and Oliver stand on the same plane, undivided. There’s no visual barrier between them (plants, a bike, a table, etc.) which means there is nothing keeping them from being with one another. They are allowed to get close to one another, literally. Whereas in this shot:
Elio is in the mid-ground while Marzia is in the foreground, suggesting that the two have grown apart in a way. In addition, there’s a wall of plants between them, meaning that they’re unable to cross over and become close again; they’re physically distant, implying that they’re emotionally distant as well. In terms of the general mise en scène, it’s very naturalistic; Luca is purely trying to recreate the 80s in a realistic way without over-exaggerating costumes, sets, etc. like many other contemporary films/tv shows set in the 80s do. I’ve only seen the film once and was so excited to be watching the film that I could hardly focus, but the next time I see it, I’ll definitely be doing a more semiotic analysis of the film. Overall, the film is so visually stunning in its sheer simplicity. It’s refreshing to see a more laid-back approach filmmaking. I hope this is what you were looking for!!
baratheonpilled
prguitarman
turnnoffyourmind
theartofmadeline
blakekathryn
areudirty
yousharknotpass
