Loving Vincent (2017)

Day 6 : 29/12

Loving Vincent, Dorota Kobiela, Hugh Welchman

This was one of the most special moments of my life, I would love to meet the filmmakers and thank them for making me feel that way. Immersing myself in a Van Gogh world! That’s something beyond the limits of my imagination in cinema and it happened. Because when you break your limits and merge existing technology with “What IFs” (I guess one of Pixar’s favorite phrases) magic happens on screen. For every post I put a frame that captures the essence of the movie for me – so here I wanted to do the reverse, because that’s what Loving Vincent does: reverses what we expect from a medium. So here is a moving image of paintings above.  It just felt really really exceptional to be able to watch this movie, while I was in the theater I couldn’t believe this was a widespread release, the experience itself felt too exclusive almost like a dream. The whole mood of the film was amazing : The artistic style of Van Gogh, his colours; his yellows and greens and blues, and the music… Getting introduced to Van Gogh’s mind was also very influential, looking at the world through an artists eyes. Especially the closing credits felt really heavy on me: he said “I wish one day the world could understand how tenderly I felt”. When the movie was finished, I just wanted to rewatch it immediately.  Probably I will watch this again sometime soon – and every possible day that I can see in the cinema. It is not easy for me to get over this film – the music for example, was just magnificent. How soft “Starry Starry Night” starting playing at the end was such a contrast to how people made him feel in his lifetime. This movie is especially influencing if you stop thinking about the paintings and how many painters have worked for it and all that – it’s magic starts the moment you leave yourself to the world of the movie.

=> Loving Vincent Cinematography Journal

image viasource

La Double Vie De Véronique (1991)

Day 5 : 06/05/2017 

La Double Vie De Véronique, Krzysztof Kieslowski

La Double Vie De Véronique tells the story of two woman who look almost exactly the same (played by hypnotizing Irene Jacob)but live separate lives in Krakow and Paris

=> and their similarity is really vague in the plotline but it also is the backbone of it. This movie emphasizes the small pleasures in life – the details that form profound feelings : the opening shot of the movie for example, is announcement of this whole idea where Weronika is singing with a choir but it starts to rain and everybody stops singings running for shelter where Weronika puts her head up to feel the rain drops completely. Because that’s where the life is hiding: in those small drops of rain.

There are many politically powerful background shots behind a dreamy, love-filled story which makes its mise-en-scene really powerful for me. This movie is definitely a cinematography lecture by Slawomir Idziak.

ALSO, So funny how Amélie got all its charm from this movie – “inspired” a little too much and most people find its style really original? The color scheme, compelling shots (motorcycle shots, the female lead who lives in her own dreamy world, the close ups…). On that note, I can’t help but look at Amélie as an experimental film now which plays on the artistic style of this movie that just goes in parallel but a different direction.

=> La Double Vie De Véronique Cinematography Journal