Alfonso Cuarón’s Gravity
This tiger beat me to it. He doesn’t seem to particularly like the classical hollywood style as utilized in the film, and I’m more lenient towards the film’s conventional use of music and blatant symbolism. Aside from a few minor differences, this is pretty much what I was going to say.
Dana Stevens, the film critic over at Slate, aptly articulates the primary virtue of Alfonso Cuarón’s latest work:
“Cuarón and his longtime cinematographer, the wizardly Emmanuel Lubezki, have created a screen space that’s not only 3-D but convincingly polarity-free, with no solid sense of what’s up or down, background or foreground.”
The spatial depth of the film, made more literal than my usual film experience because I viewed Gravity through polarized 3D glasses, is a sight to behold. The sublimity of space provokes a reaction oscillating between horror and awe. When we look into space, we see a starry void, and our perspective will determine whether we fixate on the flickering light or the depths of the emptiness. Thrust against this backdrop, the characters in the film confront not only the dialectical tension between the horror and beauty of space but also that of holding on and letting go. These…
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