I love love love love love love love love love this movie but... this is not a “beautifully-shot” scene.https://twitter.com/jeremyblass/status/1361538455168184323 …
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(I love the sequence but we need to use different terms for sequences that are heavily dictated by post work.)
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Replying to @bdgrabinski
This sequence is one of the best examples of why too much pre pro design can hurt a sequence/film. It’s beautifully composed and designed be sandwiched into a movie that never touches a classical painting style elsewhere and just feels wildly out of place.
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This is a thing I'm genuinely confused by because it's a character expressing a vivid memory, thus the style change is motivated from her perspective. It's about the feeling. Also that movies got lots of 'accidental renaissance" elsewhere. Also also - if we go by the logic of ..
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Replying to @FilmCritHULK @handsome_pal and
that point - then I don't know where the logic of not having stylistic changes stops and starts - because ANYTHING could be out of place and so it's heading toward singular tone-ism. Does that make sense?
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It’s not that there’s no motivation, but the motivation feels misguided and out of place. There obviously should be a visual shift, but you can have a visual shift without a different level of visual acuity than the rest of the film.
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Promise I'm not just trying to be pedantic here, I just feel like the film features a lot of other shots like this, so it doesn't strike me as all that different?pic.twitter.com/CutMo3KFea
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It does commit to referencing the same idea a few times throughout the film, but I thought it mostly served as a distraction because it becomes looking at a different movie. It’s too large a visual shift to feel cohesive when the idea is just a story perspective memory shift.
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