The visual language of film is universal. In “Parasite,” low, flickering light shows the distraught look on the face of the patriarch of the Kim family as the basement floods and his meager possessions are washed away. In “Corpus Christi,” natural light is used as a metaphor to symbolize life. Cinematographers of four of the Oscar nominees for international feature film recount the key moment that communicates the movie’s message in a truly cinematic manner.
Corpus Christi (Poland)
Piotr Sobociński worked closely with director Jan Komasa to remove unnecessary dialogue and rearrange the chronology of certain scenes in the drama about an ex-con pretending to be a priest. Static shots and the use of anamorphic lenses made for an aesthetic of modesty.
Sunlight is scarce throughout the film until Daniel (Bartosz Bielenia) is called upon to give last rites to a drying woman. Sobociński wanted to contrast this solemn moment,...
Corpus Christi (Poland)
Piotr Sobociński worked closely with director Jan Komasa to remove unnecessary dialogue and rearrange the chronology of certain scenes in the drama about an ex-con pretending to be a priest. Static shots and the use of anamorphic lenses made for an aesthetic of modesty.
Sunlight is scarce throughout the film until Daniel (Bartosz Bielenia) is called upon to give last rites to a drying woman. Sobociński wanted to contrast this solemn moment,...
- 2/5/2020
- by Carlos Aguilar
- Variety Film + TV
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