Interview: Edu Grau on "Passing", queer cinema, and first time filmmakers

by Nathaniel R

Black and white photography has been the hot trend this past year. Despite that, the incredibly specific and resonant visuals of Passing have been underdiscussed.  Some of that we attribute to the quiet nature of the film itself; the watchful, perpetually anxious drama focuses on Irene (a splendid Tessa Thomson) a woman in 1920s Harlem who is shocked to discover that her childhood friend Clare (brilliant Ruth Negga) is living as a white woman, and not just "passing" but boastful about her subterfuge and marriage to a proud racist (Alexander Skarsgård).

We were thrilled to meet with the cinematographer Edu Grau to discuss his fascinating movie. We broke the ice talking about his changing name in film credits. With a self-deprecating laugh he explained that he went by Eduardo at the beginnign of his career because it sounded more serious but changed his mind. "Only the police use Eduardo," he says laughing "Everyone calls me Edu". There are a lot of Edwards and Eduardos in America, he adds, reasoning "Edu is more special!" The Film Experience agrees and suggests that people should commit the name to memory...

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ASC and CAS nominations: 'Dune' & 'Power of the Dog' make both lists

by Nathaniel R

The American Society of Cinematographers and the Cinema Audio Society have released their nominations for outstanding work in film and television last year. As with the Art Directors yesterday, there are surprise omissions of notable contenders. West Side Story, for example, is not nominated for cinematography while another musical tick, tick...BOOM! misses with the sound guild. It's all leading up to an Oscar nomination morning that could be volatile.  The full list of nominations with notes after the jump...

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Chart Updates: Film Editing, Production Design, Cinematography!

by Nathaniel R

All of the Visual categories in the Oscar charts have now been updated save Costume Design which we tend to give its own articles -- playing favourites, sorry! But looking over the charts and the possibilities, it does beg the question: are Dune and West Side Story just going to be nominated in every category? And will any other films core as many nominations?  The year isn't short on films that are visually remarkable of course. There's Power of the Dog, Nightmare Alley, Tragedy of Macbeth, The French Dispatch, The Green Knight, Passing, and more.

But the question is always what are voters actually watching and what are they liking? Being remarkable only gets you so far...

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Review: "Nightmare Alley" only in theaters

by Matt St Clair

Nightmare Alley, Guillermo del Toro’s anticipated follow-up to The Shape of Water, is quite a risk for the Oscar-winning auteur. Del Toro ditches the phantasmic monsters he’s known for in favor of human monstrosity, the beasts within all of us that drive our carnal needs. As with the original 1947 noir, Nightmare Alley is an exemplary exercise on the folly of man and what happens when the line between man and beast becomes blurred. 

The main anti-hero who toes that line is Stan Carlisle (Bradley Cooper), a carny with a knack for manipulating people. His subjects include fellow carny and eventual love interest/accomplice Molly Cahill (Rooney Mara), Paul Krumbein (David Strathairn) and his fortune teller wife Zeena (Toni Collette), and a wealthy fearsome widower Ezra Grindle (Richard Jenkins). Cooper's piercing eyes and bewildering smile make him a perfect casting fit for the manipulative con man. He is a man of few words which is just as well; the words when they come are lies and deceit. It is in Cooper’s expressive face where we see Stan’s constant fear of his troubled past resurfacing...

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Gotham Nominees: "Faya Dayi"

by Nick Taylor

First thing’s first: Faya Dayi easily ranks as one of the most beautiful 2021 films I have seen. I don’t mean to equate its beauty with an automatic FYC for best cinematography, nor a backhanded comment on style over substance. In cahoots with the editing and sound design, the heavy, monochromatic images cloak Ethiopia in a hazy, dreamlike aura that’s foundational to the film’s tone and point of view, and unspeakably gorgeous to boot. I could've pulled a gallery's worth of screengrabs from the first five minutes alone. Producer/director Jessica Beshir also acts as her own cinematographer, and her ability to endow her images with such clarity and attention to movement, texture, and composition is a stunning achievement.

But is it fashion? Does the gorgeousness of the imagery actually serve the film, or is it too loaded down to carry its own weight? How much movie truly lies underneath all this black and silver? Well...

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