They kind of fit in this weird in-between time, so the audience is unsure of when the period is.” We're not shooting with the master Anamorphics that are pristine. We chose modern lenses that are pretty new, but Cookes that are kind of soft. Trying to get that slick, modern aesthetic, but in black and white. In an interview with No Film School, Kuperstein notes: Kuperstein uses the RED Epic Dragon and modern Cooke anamorphic lenses to get as much contrast between the film’s harsh lights and deep shadows as possible. This psychodrama from first-time filmmaker Nicholas Pesce is filled to the brim with disturbing imagery that will chase away as many moviegoers as it will attract. The Eyes of My Mother, though, is no ordinary black-and-white film. RED isn’t often associated with black-and-white, as indie filmmakers often try to at least emulate analog for their aesthetic. Sergio Armstrong gets the nomination for beautifully bringing celluloid ideas to RED’s digital brain. Many travel sequences feature rear projection shots that were achieved with five cameras running at the same time. Maybe more than any other film on this list, Neruda embraces the digital RED format as a way of modernizing classic cinema genres and motifs. “The movie’s meaning resides in the deliberate disconnect between Peluchonneau’s iconic film noirpresence (enhanced by cinematographer Sergio Armstrong’s aggressively digital photography, which creates silhouettes that look as if they’re encased in crushed velvet).” From Mike D’Angelo’s review of Neruda for the A.V. The film is a historical biopic by way of film noir, and Sergio Armstrong’s cinematography (shot on a RED Epic with no lens mention) lushly embraces the noir style.
Neruda was the third Pablo Larraín movie this year ( Jackie and The Club) and it might be the best of the three.
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