Reviews

This is a movie which encompasses all the elements of what good cinematography intends to be: using cameras, light and sound to create a world of it's own.

Director Yorgos Lanthimos based his motion picture on Alasdair Gray's novel from 1992 and turned it into a phantasmagoric narrative.

And it's the way this narrative is being presented which makes it such an overwhelming experience.

Take, for instance, the alternating use of black-and-white and colour for certain scenes.

Talking about colour: the artwork emphasises the scenes taking place abroad, adding an extra dimension.

Then there's the inextricable role played by the music composed by Jerskin Fendrix!

Also the costumes designed by Holly Waddington look almost natural om Emma Stone, but please take a closer look to see the craftsmanship.

Now that we mentioned her name, let's be clear: her's is an astonishing performance, which should be awarded accordingly.

Reading this review you might think 'OK, I get it: its arty farty, right?' Don't be mistaken, underneath it all there are layers of truth, which could be summarised by the question: 'What exactly is the nature of a human being?' Foremost though, immerse yourself in 'Poor Things' and enjoy!

First of all we should be aware that Jane Austen's Emma was published in 1815 and that we're looking at a costume drama, exquisitely filmed by Christopher Blauvelt.

Furthermore it's well known that Jane Austen was no more charitable than Charlotte Brontë in her treatment of fools of either sex, be it men or women.

That's exactly what Eleanor Catton's screenplay emphasizes: the foolishness of human love and human will.

Whether it's Emma's own behaviour or that of her friend Harriet Smith (played by Mia Goth), as well as men like the reverend mr. Elton (Josh O'Connor) or Frank Churchhill (Callum Turner).

Autumn de Wilde adds the right amount of irony in her direction, for instance in the scenes that take place in church.

Bill Nighy (as Emma's father) perfectly exemplifies that feeling of irony.

Credits also to costume designer Alexandra Byrne, whose creations would undoubtedly would have pleased Oliver Goldsmith (remember his essay 'On Dress').

It's a comedy and as such it's fun to watch.

You should see 'Honi soit qui mal y pense!'

Having seen 'Little Women' I wondered why Yorick Le Saux wasn't nominated for cinematography at the Oscas 2020.

I'll mention two scenes to support my view an d I urge you to watch them closely: 1. The scene where Jo March (Saoirse Ronan) comes to New York for the first time and we see her walking down the crowded streets. The remarkable thing about thiis scene is, that she's the only person in focus - all the other people seem blurred.

2. The scenes on the beach. First, the flashback to the summer when all the sisters were spending summer together on the beach, accompanied by Laurie. Le Saux manages to make it look like a French impressionist painting come to live. Which fits, right, because Louisa May Alcott wrote the book in the same time period.

In marked contrast to the above mentioned scene, there's the scene on the beach of Jo and Amy (Florence Pugh), where Amy is suffering from illness. The camera has a very low standpoint while both women are seated in the sand and Jo tries to console her sister, although it's windy and grey.

Awesome cinematography!

This series renders other series and cinema to child's play, when it comes to depicting the theme of addiction. Cumberbatch is intriguing as the main character. His performance makes it as if you almost have the physical experience, which is quite a feat. The same goes for the unmistakenable tone of irony, that rings through the whole series. Much credit has to go to director Edward Berger and the cinematography of James Friend.

Jenna Coleman's acting is worth an award. Camera work by John Lee is extraordinary (the right eye for detail), music is extremely well suited, the costumes are exquisite. It's a feast for the eye and while looking at it you just tend to forget the quibbles about it's historical mistakes.