From Kubrick to Almodovar: 10 Great Starting Ideas – Actus Ciné

Amazing connections, ellipses with talent…: these cinema plans have left you speechless because they are so well thought out! Here are 10 unforgettable discoveries from inspiring filmmakers.

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Almodovar, Kubrick, Wells, Spielberg, Buñuel… to name a few. Many filmmakers have given us unforgettable moments of cinema with their works, which are regularly interspersed with wonderful theatrical ideas, some of which have left a lasting impression on our retina and our cinematic memory. Here are ten.

Installing the napkin in “Julietta”


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Presented at Cannes and Cinemas in May 2016, the latest version of Pedro Almodóvar He had left the festival empty-handed, not without having made an impact on minds and hearts. A portrait of a woman devastated by the loss of people who were dear to her, Julieta plunges into the throes of the most passionate female relationship: that of a mother with her daughter, and by extension a woman with her. … time passing.

Evidence of any of the perfect alchemy found in the film between the background (full of darkness) and the figure (full of meaning), Towel installation Remarkably. In one shot, the heroine’s child wipes the wet hair and frayed face of his depressed mother (Adriana Ugarte) and then lifts the towel, revealing features of suddenly aging (that of Emma Suarez) due to poor condition and time. An effective and devilishly elegant way to stress the damages of depression and suddenly old age… that attack without warning.

The sequence in question…

The Dramatic Mirror in “Contact” by Robert Zemeckis

A brilliant young astronomer (Jodie Foster) remembers her father’s death when she was a child. A founding moment for the heroine, brilliantly orchestrated by Robert Zemeckis: the young girl who had just discovered her father had fallen to the ground, ran upstairs to get the medicine. Dramatic music and slow motion in its tracks already announced the unfolding tragedy. Without the slightest cut, what we thought was a simple objective tracking shot appears as a plan that appears to have been shot entirely in the medicine cabinet mirror. Deceive.

If we review the sequence shot carefully, we realize that it has already been reversed 180 degrees in post-production, evidence of this being the stair railing on the left in the more earlier downward direction, and … left again in the uphill direction. The scene’s stunning mirror effect is based on an exact match, with digital retouching revealing the famous mirror on the left. The purpose of this artwork? Insist on reversal of traumatic, obsessive, critical memory.

Plan to discover below…

The ellipse in the movie “2001, Space Flight” by Stanley Kubrick

Man throws a bone into the air, which he managed to master as a tool and even as a weapon. When propelled into the air, the object falls backward and “becomes” a spacecraft of similar shape and its upward trajectory similar to that of a bone. It all comes down to the meaningful music “Thus Spoke Zarathustra” by Richard Strauss, followed by “The Beautiful Blue Danube” by Johann Strauss.

If we had to remember just one scene from the legendary 2001, space flight, it would be this one. In a simple connection, without transmission and without breaking the running motion, Stanley Kubrick Connects two ages very far apart: in a real second on screen, millions of years of decisive evolution are proposed. A sumptuous reflection on space-time and species (which became “the master and owner of nature”) …

Take a look below…

The Andalusian Dog by Luis Buñuel

They did not want us to analyze even one of the crazy plans of Shen Andalo, who in this film “enjoyed” the game “The Wonderful Corpse”, a “surreal” exercise consisting of a series of all the horrific images born from their own subconscious, without any desire to justify . However, it is hard to resist commenting on this short film, which is the fruit of the wild imagination of Salvador Dali and Luis Buñuel Probably.

The most striking and unforgettable of this masterpiece? The footage captures a razor blade dividing the eye and a thin cloud cutting across the moon. A connection dreamed by Luis Buñuel himself, symbolizing violence and beauty in his first work. A work in which the author portrays himself as a sacrilegious actor, a showman of the unpresentable, and a creator of a poetic reality that rips the veil of perception and shakes the spectator, inviting “a vision from an eye other than the usual.” That’s just.

Sequence below…

Orson Welles’ “Citizen Kane” returns to the past

It is difficult to quote a single outline for this absolute cinematic masterpiece, the primary subject of image analysis courses. However. Among the talented (opening in particular) sequences and Citizen Kane’s wisest connections, we chose to keep the film’s flashback moment for the first time: the episode that Orson He reveals his hero’s childhood thanks to the fading of white allowing snow to be superimposed on the narrator’s character.

As impressive and difficult to achieve with decor in mind, the following famous tracking shot gradually leaves Charles in the background, showing first his mother, then the house and the negotiations going on there. Direct staging (the cart should avoid the table in the field) full of meaning, which, after transmitting the view within the family home, opposes the free universe of the child to the rigid universe of the adult, frozen because it is restricted. The excessive frame of the little boy (from the window and then from the frame itself) wisely indicates his gradual imprisonment.

see below…

Citizen Kane - Extract VOST





The Burning Match in “Lawrence of Arabia” by David Lane

Six years prior to 2001, David Lean in Space Odyssey and Kubrick fell upon an anthology scene also born there from an association with very strong symbolism. The charismatic Lawrence of Arabia explodes into a match to put her down. Cuts. A beautiful sunrise looms over the desert.

A pure two-shot sequence joining the infinitely large (Sunlight) tiny (Flame) is there to underscore the character’s paranoia, convinced of being a half-strength, superman capable of transcending others and his own condition, through denial of his own suffering and work.

Whatever the case, this shot, perhaps the most famous in American cinema, deeply affected a young boy who promised a great future: Steven Spielberg.

Here he is again…

Frozen bodies in the movie “Hiroshima Moon Amour” by Alain Resnais

One of the most beautiful opening sequences of French cinema, all sweetness and pain mixed together. In Hiroshima mon amour, the embrace that is played from the first seconds between a man and a woman who have escaped the horror. What do Hiroshima lovers look like? It has shrapnel (because it’s been photographed in close-up shots) of frozen creatures, apparently emerging from a bath of ash before melting, in sweat.

Connecting his disturbing shots in this way, to the grotesquely unforgettable chords of Georges Delero and Giovanni Fusco, Alain Resnais emphasizes the extent to which love has been and always will be tinged with death and the weight of memory, invoking the fusion of damaged bodies. Fusion (then fission) … nuclear.

A poetic fade is as poetic as it is a build, let’s review here:

The taut frame in “Mommy” by Xavier Dolan

Xavier Dolan demonstrated, right from the start, how well he knows how to master the cinematic language of conveying excessive emotions. Of all his films, Gifted, Mother is undoubtedly a masterpiece, knowing how to combine the emotional fever of the prodigy with the proven director’s mastery. Led by young Antoine Olivier Bellon, the film’s main scene is played on the chords of the Oasis tube, Wonderwall.

In a truncated sequence during which he skates in music and freedom, the young hero (a kind of angry alter-ego of a fiery Dolan) spreads his arms and follows his movement, the frame widening from the unusual shape chosen for the movie (1:1) to the usual (1:85:1) which used by the cinema.

The black side gangs that, in addition to persecuting the viewer, have so far expressed the confinement of the characters, disappear with a single gesture, lending an atmosphere to the decor and their heroes, who are authorized to believe since then for a better future. A beautiful, daring and innovative escape that literally blows up the frames of the theater, as close as possible to the feelings of the characters.

The Wheel of Pain sequence in “Conan the Barbarian” by John Milius

Another nice way to illustrate the power of time passing. In Conan the Barbarian, a young man who became a slave after the massacre of his family finds himself chained, forced for years to spin an enormous wheel known as Suffering. He will be the last survivor to move him, becoming at the end of his forced training the indomitable hero we know.

John Milius’ sequence, linking shots to Conan’s increasingly muscular legs, has the art of condensing into a few seconds those years of suffering that, after forging his body and mind, made a young boy (Jorge Sanz) a man (Arnold Schwarzenegger), indestructible by the power of the wrist.

Memory of smoke in “The Man Who Shot Liberty Valance” by John Ford

At the end of John Ford’s cult film, Donivon (John Wayne) explains to Ransom Stoddard (James Stewart) that he didn’t kill, as he thinks, the famous Liberty Valance (Lee Marvin). “Remember,” he adds, facing the stunned look of his interlocutor. Spitting his cigarette smoke, Wayne offers a flashback: the shot becomes blurred before it turns black. The black that actually represents his back and that unfolds as he progressively advances to the next shot, making the image appear…

Memory emanates from smoke, darkness emanates from Wayne’s body… two wonderful bonds, expressing the ephemeral nature of the images to follow and the dark and dark side of the hero who creates them, with his gesture and with his body. A wise way for Ford to give Wayne here the status of director of memory and therefore of the film, which is based entirely on this past moment … pivotal.

Double coupling, double direction:

The Man Who Killed Liberty Valance Extract video VF





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