The best-looking Coen flicks

by Cláudio Alves

The Coen brothers are some of the most acclaimed American directors of our days. While many celebrate their ability with witty dialogues and violent storylines, a worldview rich in irony and nihilism, parts of their cinematic genius remain a bit underrated. For instance, their works are always beautiful, carefully composed and shot, full of inspired design choices and homages to the classicism of Old Hollywood filmmaking. Few would put them in the same ballpark as contemporary directors like Luhrmann or del Toro when it comes to the consistent creation of lush visual feasts, but maybe we should reconsider that…

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Night of the Linker

• Los Angeles Times Thoughtful terrific interview with Merrit Wever on HBO's Run and Netflix's Unbelieveable
• Vanity Fair Brad Pitt teamed up with the Property Bros? What?
• Florence Pugh has a message for all the toxic "fans" out there -- it's not your place to comment to bully celebrities about who they love! Hear hear.

Roger Deakins, Broadway woes, Natalie Wood, Disney furloughs, Beetlejuice, Missi Pyle in Ma, and more after the jump...

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Ranking this year's Oscar speeches

by Cláudio Alves

As we finish our Oscar celebrations and mourn the end of another Awards Season, let's explore this year's Academy Award speeches. Unlike past ceremonies, this one was poor in truly disastrous acceptance speeches. Perhaps people saw the mess of last year's Best Makeup winners and decided they would be prepared to step on stage and receive their little golden men with dignity and generosity towards the teams that got them to that dazzling podium. Whatever the reason, this was a good year for Oscar speeches and we honor them, from the most unmemorable to the god-tier achievements in public speaking.

We begin with the least impressive efforts of the night…

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A long take is a held breath.

by Cláudio Alves

Long takes are a constant subject of fascination for filmmakers and film lovers alike. The technical challenge inherent to them makes many directors salivate at the prospect of showing off their craft. At least, that's what, as an audience member, it sometimes feels like. Though, to characterize the long take as a mere tool of formalistic showmanship would be wrong. Depending on the case, this mechanism can be transformative, capable of bending the audience's perception of time, their attachment to what they're watching and sentimental engagement.

In 1917, Sam Mendes uses the long take as a key to sensorial immersion and ever-tightening tension. Each cut is a blink, a breath, a repositioning of the eye and recalibration of the senses. It's something that's a convention and brings comfort to the viewer. When you take it away, one feels as if the action never stops, like there's no time to breathe or to disengage with the narrative. A long take is a held breath and it can be a gloriously suffocating thing to experience…

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ASC Nominees and "Spotlight" Cinematographers

The Cinematographer's guild has spoken and they basically went with mainstream Best Picture frontrunners as is their habit. The five theatrical nominees are...

• Roger Deakins for 1917
• Phaedon Papamichael for Ford V Ferrari
• Rodrigo Prieto for The Irishman
• Robert Richardson for Once Upon a Time in Hollywood
• Lawrence Sher for Joker 

All but Sher are familiar to the Oscar race having been nominated before, particular Deakins (14 nominations / 1 win) and Richards (9 nominations / 3 wins).

Their "spotlight" nominees -- a fairly new category -- are always more interesting since they tend to be far removed from the Oscar race...

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