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A Murder at the End of the World Review(Photo Credit –IMDb)

A Murder at the End of the World Review: Star Rating:

Cast: Emma Corrin, Harris Dickinson, Brit Marling, Alice Braga, Joan Chen, and Clive Owen.

Creator: Brit Marling and Zal Batmanglij

Director: Brit Marling and Zal Batmanglij

Streaming On: Hulu

Language: English

Runtime: 7 Episodes, Around 1 hour each

A Murder at the End of the World Review(Photo Credit –IMDb) A Murder at the End of the World Review: What’s It About:

Brit Marling has become one of the most creative and unique creators on television. During the last ten years, we have delivered some of the most fascinating series and films in recent memory. So, it becomes quite a delight to see her coming back with A Murder at the End of the World, a limited series on Hulu, inspired by the works of Agatha Christie and...

This is turning into a banner year for movies shot on Kodak film, led by such Oscar hopefuls as Christopher Nolan’s IMAX’d “Oppenheimer” biopic, Martin Scorsese’s first Western, “Killers of the Flower Moon,” Bradley Cooper’s Leonard Bernstein film, “Maestro,” Wes Anderson’s latest, “Asteroid City,” and Yorgos Lanthimos’ subversive “Frankenstein” re-imagining “Poor Things.”

And those are just the prestige films.

Likewise, Cannes Film Festival boasted 29 features and shorts shot on Kodak film, including such Oscar hopefuls as Martin Scorsese’s first Western “Killers of the Flower Moon,” (shot by Rodrigo Prieto), Wes Anderson’s ’50s sci-fi comedy-drama, “Asteroid City” (shot by Robert Yeoman) Ken Loach’s “The Old Oak,” about a pub in tension-filled Northeast England, (shot by Robbie Ryan), and Steve McQueen’s “Occupied City,” a documentary about Amsterdam under Nazi occupation during World War II (shot by Lennert Hillege).

Four on-film entries compete for the Palme d’Or.

Set in a shadowy world of scam artists and grifters, Sharper follows four characters through interlocking stories set in a modern-day noir version of New York City. From Park Avenue penthouses to abandoned warehouses, director Benjamin Caron builds a dangerous world filled with betrayals and double-crosses. Justice Smith plays Tom, manager of a used bookstore. A chance meeting with Sandra (Briana Middleton) leads to Max (Sebastian Stan), a self-professed con man. Max will encounter Madeline Phillips (Julianne Moore), a wealthy widow with designs on corporate titan Richard Hobbes (John Lithgow). Sharper is the feature debut for Caron, best known for his […]

The post “To Shoot on the 48th Floor is a Dp’s Nightmare”: Dp Charlotte Bruus Christensen on Sharper first appeared on Filmmaker Magazine.

Set in a shadowy world of scam artists and grifters, Sharper follows four characters through interlocking stories set in a modern-day noir version of New York City. From Park Avenue penthouses to abandoned warehouses, director Benjamin Caron builds a dangerous world filled with betrayals and double-crosses. Justice Smith plays Tom, manager of a used bookstore. A chance meeting with Sandra (Briana Middleton) leads to Max (Sebastian Stan), a self-professed con man. Max will encounter Madeline Phillips (Julianne Moore), a wealthy widow with designs on corporate titan Richard Hobbes (John Lithgow). Sharper is the feature debut for Caron, best known for his […]

The post “To Shoot on the 48th Floor is a Dp’s Nightmare”: Dp Charlotte Bruus Christensen on Sharper first appeared on Filmmaker Magazine.

For all the twists and turns in Sharper, what stands out the most is the film’s aesthetic: often beautiful to observe but also diverse in its rendering of different sections of its New York setting. Director Benjamin Caron and cinematographer Charlotte Bruus Christensen tap into the labyrinthian quality of the space. There are secrets in alleys and skyscrapers alike.

What a pleasure it was, then, to speak with Caron about the decisions behind these choices. Not to mention the challenges of directing an A-list cast of actors while maintaining the illusions inherent in a confidence game.

The Film Stage: How does this movie come together? How do you find yourself directing all these great people in this cool movie?

Benjamin Caron: I was finishing working on Andor and I had a film that that we were going to make in the [United Kingdom] with Vanessa Kirby, but because of the pandemic...

Plot: Unfolds within the secrets of New York City, from the penthouses of Fifth Avenue to the shadowy corners of Queens. Motivations are suspect and expectations are turned upside down when nothing is as it seems.

Review: Con artists and thieves always make for intriguing movie plots. With a long legacy of such films to choose from, from classic noir to contemporary indies, filmmakers have to rely on solid casting and unique twists to try and entice audiences. The new film Sharper, starring a small cast of talented performers, almost delivers on both despite getting a bit too confident in a story that ends up being more familiar than the trailers suggest. But, thanks to five solid performances from the ensemble cast, Benjamin Caron’s twisty thriller is good enough to warrant some attention this weekend. After a brief theatrical run, Sharper will premiere on AppleTV+, giving it even more...

Gordon Willis is considered by many to be one of the greatest cinematographers in the history of cinema, with his work on films like "The Godfather" trilogy, "Annie Hall," "Manhattan," and "Klute" hailed as the definitive cinematic look of the late 1970s. Willis was given the nickname "The Prince of Darkness" by fellow cinematographer Conrad Hall, a reference to Willis' sophisticated use of shadow and underexposed film. Think of Marlon Brando as Vito Corleone in "The Godfather," often cloaked in shadow just as dark as his pitch-black tuxedo jacket.

Willis' skills were on another level, and in our current era where everything seems to be plagued by a curse of darkness, it's a shame that more cinematographers aren't looking toward his example. Fortunately, director Benjamin Caron of "Andor" fame specifically wanted to channel the work of Gordon Willis for his upcoming A24 thriller with Julianne Moore and Sebastian Stan, "Sharper.

The trick to Sharper––a new con picture from director Benjamin Caron––is that it’s deceivingly simple. Featuring multiple lead characters, many points of view, and more twists than a Twizzler, this construct may feel convoluted in spots. Yet it is a concise, well-told piece of entertainment that’s smart enough to know being too clever can be a crutch.

We open on a meet-cute. Sandra (Briana Middleton) stumbles into a small NYC bookstore owned by Tom (Justice Smith). They’re both shy sorts, he a bit more than she. Their whirlwind romance is interrupted by the needs of Sandra’s unseen brother. He is in debt and in danger and needs a whole bunch of money as soon as possible. Tom––quietly rich thanks to his father (John Lithgow)––offers to help out. Begrudgingly, Sandra accepts.

If you’ve ever seen a con film before, you know what happens next.

Seeing the nifty grifter drama Sharper reminded me how rarely we encounter this kind of clever cat-and-mouse game that might fall into the noirish genre but really relies on diving into a world filled with characters who reveal slices of their lives that keep changing moment to moment. It is the kind of movie I find enormously difficult to review because its ultimate success for a viewer is just watching it unfold, beat by beat, never quite knowing exactly where it is heading but still glued to the screen to find out.

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Almost any...

Sharper, an A24 and Apple TV+ psychological thriller starring Julianne Moore and Sebastian Stan, opens with a love story. A graduate student named Sandra (Briana Middleton) walks into a used bookstore in New York searching for a first edition copy of Zora Neale Hurston’s Their Eyes Were Watching God. The man working the counter, Tom (Justice Smith), is immediately smitten. He clumsily asks her on a date. She rejects him. Later that evening, Sandra returns to the store and timidly announces she’s changed her mind.

They fall into an easy romance: Mornings at the bookstore in Soho, afternoon walks in Washington Square Park, evenings spent cooking in Sandra’s apartment somewhere downtown. Tom and Sandra are a perfect match — a couple whose story would make for a great season of HBO’s Love Life. When Sandra vanishes, both Tom and the viewer are left to ask: What went wrong?...

“Sharper” opens with a fake out—in its own title. A dictionary definition fades up on the screen, declaring “sharper” as a noun that means “one who lives by their wits.” This little bit of cheeky word play is a harbinger for the never-ending rug pulls and elaborate deceptions to come in this con artist thriller, directed by longtime TV director Benjamin Caron and written by the team of Brian Gatewood and Alessandro Tanaka. Things are never what they seem in “Sharper.”

The film is a slickly-executed piece, an enjoyable but almost unbearably twisty puzzle box of narrative fun, but once everything slots together the box is unfortunately empty. Just like the characters in the film who seem to con, grift, and scam just because they can, it feels a bit like the filmmakers tied the narrative up in knots just so they could untangle it in front of us with a flourish,...

Tufano’s credits include the seminal UK films ‘Trainspotting’, ‘Shallow Grave’ and ‘Billy Elliot’.

Brian Tufano, a legendary UK cinematographer whose works included Trainspotting and Billy Elliot, has died.

His career spanned over five decades, during which he nurtured the talents of numerous debut directors and was at the forefront of the boom of UK filmmaking of the 1990s.

Born in London in 1939, Tufano began working at the BBC’s Gainsborough Studios as a projectionist in 1956. He then worked as a projectionist at the BBC at Ealing Studios, where the film department was based, eventually working his way up from...

Pontikos won for her work on Netflix’s ‘Russian Doll’.

Ula Pontikus has become the sixth winner of the National Film and Television School (Nfts)’s annual Sue Gibson Bsc Award for cinematography, for her work on Netflix show Russian Doll.

Pontikos previously received a Primetime Emmy nomination for her Russian Doll work; she also recently wrapped Showtime series Three Women starring Shailene Woodley.

The cinematographer’s feature credits include Hong Khaou’s Lilting, debbie tucker green’s Second Coming and Paul McGuigan’s Film Stars Don’t Die In Liverpool.

She had been nominated twice previously, for Film Stars…...

The first line of Amazon’s spy thriller “All the Old Knives” hints at the troubles to come: “Something has gone terribly amiss.”

At one point Kate Winslet, Michelle Williams, and Idris Elba were all rumored to be attached, but fell away over the years. So how, exactly, did Chris Pine and Thandiwe Newton get talked into what feels like an early-aughts, made-for-cable movie?

A stiffly somber Pine, entombed in turtlenecks and long scarves, is introduced like he’s in one of those perfume commercials celebrities try to keep hidden overseas. Despite a few moments of tense intrigue, the rest of the film too often follows suit.

Most of the action hinges on an event that took place several years ago. In flashback, we see shockwaves ripple through the CIA’s office in Vienna, as agency heads Wallinger (Laurence Fishburne) and Compton (Jonathan Pryce) share news of a violent airplane hijacking by Chechen rebels.

“It was such a visual script,” reveals cinematographer Polly Morgan of “A Quiet Place Part II.” John Krasinski served as writer and director for this sequel, and his full creative vision was apparent on the page. The vision was inspired by some of the world’s greatest filmmakers, and Krasinski’s ambitious visual storytelling allowed Morgan to expand the universe of this franchise in impressive new ways. Watch the exclusive video interview above.

Morgan inherited the world of this film from Charlotte Bruus Christensen, who served as cinematographer on the first movie in the series. “I loved the first movie and I thought Charlotte did such a beautiful job with it,” she reveals, “it had a really strong visual language.” While Morgan admits to feeling intimidated by following those footsteps, the plot’s natural progression allowed her to carry forth some of Christensen’s style while pushing forward with her own creative choices.

Previous winners include Roger Deakins, Charlotte Bruus Christensen.

Swedish cinematographer Annika Summerson has won the National Film and Television School (Nfts)’s Sue Gibson Bsc Award for cinematography, for her work on Bassam Tariq’s Mogul Mowgli.

Nfts alumna Summerson is the fifth winner of the award from the UK film school, joining previous winners Charlotte Bruus Christensen, Roger Deakins, Jakob Ihre and last year’s winner Natasha Braier.

The award was established in memory of Nfts alumna Gibson, who was the first woman to be invited to join the British Society of Cinematographers and its first female president.

Summerson...

Award nominees include previous Bifa and Bafta nominees.

Annika Summerson, Benjamin Kracun and Alwin H. Kuchler are among the nominees for the 2021 Sue Gibson Cinematography award presented by the UK’s National Film and Television School (Nfts).

The annual award marks its fifth edition, after being first established in 2016 in honour of the late Nfts alumna Sue Gibson who passed away in the same year.

The nominees are:

Annika Summerson for Mogul Mowgli Benjamin Kracun for Promising Young Woman David Katznelson for It’s A Sin James Blann for Feel Good Alwin H. Kuchler for The Mauritanian

Summerson was nominated...

Amanda Coe has plenty of experience adapting big novels into TV series, winning a BAFTA for the 2012 drama Room at the Top and also penning her version of Apple Tree Yard. In the latest from the creator and writer of The Trial of Christine Keeler she took on Black Narcissus, an adaptation of Rumer Godden’s steamy 1939 novel, which Coe turned into a three-part limited series for FX and the BBC.

The finale, which aired in November, is the latest entry in Deadline’s It Starts On the Page, a series that highlights the scripts that will serve as the creative backbones of the now-underway TV awards season. The scripts are all being submitted for Emmy consideration this year and have been selected using criteria that includes critical acclaim, a range of networks and platforms, and a mix of established and lesser-known shows.

In the plot of Godden’s novel...

For “A Quiet Place Part II,” the sequel to the blockbuster alien invasion film, director John Krasinski emphasizes more action. And, with the passing of his father character at the end of the first film, turns deaf daughter Regan (Millicent Simmonds) into the protagonist. She becomes the film’s canny and determined hero, combatting the aliens with her hearing aid’s high-frequency audio feedback.

Krasinski also tapped a new cinematographer for his sequel: Polly Morgan replaced Charlotte Bruus Christensen, and once again shot on film. “John and I were both passionate about shooting on film,” she said. “But this felt more like a modern western, and, all during prep, we talked about ‘No Country for Old Men,’ ‘True Grit,’ and ‘There Will Be Blood.'”

In terms of lighting, they leaned into westerns that did not rely on modern practical sources, which made sense for this story, as there wasn...

Cinematographer Polly Morgan remembers seeing “A Quiet Place” when it hit theaters and being terrified. As a young mother watching Emily Blunt’s Evelyn Abbott giving birth in a tub and later putting her crying baby in a box to save it from the creatures, she was fearful. “It was a family drama, and I cared about these characters, even though it was a horror film,” she says.

Morgan’s top priority on “A Quiet Place Part II,” which hits theaters May 28 after more than a year’s delay due to the pandemic, was to stay true to the tone and lighting established by Charlotte Bruus Christensen, who lensed the first picture. “Since the sequel picks up right where the first movie left off, I didn’t want the audience to be jarred by the film’s look,” Morgan says.

For director John Krasinski, the decision to shoot on film was “nonnegotiable.

In retrospect, it may have been a mistake to watch the original Archers film production of “Black Narcissus” before screening the limited series “Black Narcissus,” produced for FX and BBC One. Michael Powell and Emeric Pressburger’s 1947 take on Rumer Godden’s novel is a cinematic landmark of its era, leaning on saturated colors, dramatic music cues and performances so pointed they threatened to draw blood. It’s dated but deliberate, tense and taut with simmering lust. This 2020 update, from writer Amanda Coe and director Charlotte Bruus Christensen, is careful to state that its primary source material is Godden’s book rather than the Archers’ film, and as such, should have more room to play with and develop the story. In practice, though, not even having three hourlong episodes versus a movie less than two hours long quite gives the series much of a personality of its own. Too much...

“The Banker,” a sumptuous Apple TV Plus production competing in the EnergaCamerimage Film Festival’s main competition this week, is the true story of Bernard Garrett and Joe Morris, two Black investors who broke down racial barriers during the 1960s by keeping their race secret. Dp Charlotte Bruus Christensen worked with director George Nolfi to conjure a magisterial look to the trappings of a real estate empire for the film, which moves from small-town Texas to booming Los Angeles – and finally to the halls of Congress, where the protagonists face a reckoning for rocking the boat.

When you’re going into a low-budget film that calls for a big, old-school Hollywood look and period locations, what are you thinking of as a way to pull it off?

One of the things that pushed this toward 35mm film was that the script and the period and everything about it had a sort of a heavyweight feel.

‘Ammonite’, ‘Nomadland’ to play in main competition.

Poland’s EnergaCamerimage Film Festival has revealed the main competition lineup for its 28th edition, which is set to go ahead as a mix of physical and online events.

Scroll down for full list of titles

A total of 12 films will compete for the festival’s Golden Frog, which will take place in Torun, Poland from November 13 to 21.

They include Chloé Zhao’s Nomadland, Francis Lee’s Ammonite and Woody Allen’s Rifkin’s Festival.

The festival, which focuses on the art of cinematography, also announced that Andrew Levitas’ war photographer drama Minamata...

Johnny Depp will be awarded the Camerimage Award for “an actor with unique visual sensitivity” at the EnergaCamerimage Film Festival. “Minamata,” starring Depp, will be the closing film of the 28th edition of the event, which focuses on cinematography.

Due to the pandemic, Depp will be unable to accept the award in person, but will connect to the ceremony remotely from the U.S. Depp has appeared in person at other fall festivals, including Zurich and San Sebastian, but Covid-19 levels have now risen across Europe.

The screening of “Minamata,” which was directed by Andrew Levitas and shot by cinematographer Benoît Delhomme, will take place on Nov. 21 in Toruń’s Jordanki Festival Center, following the closing gala and awards ceremony. The festival announced its competition lineup at the weekend, which includes critics’ favorites “Ammonite” and “Nomadland.”

“Minamata,” Levitas’ sophomore feature, tells the story of how war photographer W. Eugene Smith...

FX is getting ambitious with their programming this fall, starting with a series reboot of an iconic film. The network, in conjunction with the BBC, released the first trailer for their new limited series “Black Narcissus.” The series is an adaptation of Rumer Godden’s best-selling novel, originally published in 1939, later adapted into a feature film directed by Michael Powell and Emeric Pressburger in 1947.

The trailer lays out the basic tenets of both Godden’s novel and the original feature. Set in 1934, Gemma Arterton plays a young nun named Sister Clodagh sent to a remote clifftop convent in the Himalayas. Once known as the “House of Women,” the palace turned convent holds many dark secrets that, coupled with the arrival of a man named Mr. Dean (Alessandro Nivola), threatens to turn the nuns against each other.

This first look at the series seems to be setting up a lot more...

Black Narcissus, the 1947 film based on author Rumer Godden’s 1939 novel, is getting a substantially stylized update in the realm of peak television by way of FX’s November-scheduled miniseries. With Gemma Arterton as its headliner, the miniseries will showcase a surreal tale of eroticism, darkness and futility centered on a group of nuns in a Himalayan palace.

Amanda Coe (The Trial of Christine Keeler) wrote the adaptation script for the three-part miniseries, which was directed by Charlotte Bruus Christensen (Between Us). Interestingly, the element of stunning Himalayan cinematography will be prominent in the FX miniseries, just as with the 1947 film, which, directed by Michael Powell and Emeric Pressburgher, won two Oscars in 1948, one of which was for cinematography. Indeed, Christensen was a longtime cinematographer who only recently transitioned to behind the camera.

On that note, check out the trailer for FX’s Black Narcissus just below.

The series is set in Mopu,...

Remember “Black Narcissus,” the 1947 British psychological drama film written, produced, and directed by Michael Powell and Emeric Pressburger, and starring Deborah Kerr? Well, you may have forgotten, but FX announced a year ago that they were making a three-episode limited series based on the same material from writer Amanda Coe and directed by Danish cinematographer turned director Charlotte Bruus Christensen.

Continue reading ‘Black Narcissus’: The Devil Comes In Many Disguises For FX’s New Young Nuns Convent Series Starring Gemma Arterton at The Playlist.

Black Narcissus, a three-episode limited series from writer Amanda Coe and directed by Charlotte Bruus Christensen, will premiere all three episodes on FX Monday, November 23 beginning at 8 Pm Et/Pt, with the full series also available the following day on FX on Hulu.

Black Narcissus is based on the best-selling novel by Rumer Godden. Set in Mopu, Himalayas, in 1934 at a remote clifftop palace once known as the ‘House of Women’, the location holds many dark secrets. When the young nuns of St. Faith attempt to establish a mission there, its haunting mysteries awaken forbidden desires that seem destined to repeat a terrible tragedy.

During the latter years of British rule in India, ambitious young nun Sister Clodagh heads a mission to a remote part of the Himalayas. The palace of Mopu has been donated by General Toda Rai, who hopes the Sisters of St. Faith will rid the ‘House...

FX released the first trailer for its upcoming limited series “Black Narcissus” on Monday, setting a November premiere date for the adaptation of Rumer Godden’s bestselling novel.

The three-part limited series, which marks one of the final performances by “Game of Thrones” star Diana Rigg, is set to premiere in its entirety on Monday, Nov. 23 on FX.

Based on the 1939 novel of the same name, the series takes place within a clifftop palace in the Himalayas once known as the “House of Women.” Gemma Arterton stars as Sister Clodagh, the head of a group of young nuns who attempt to establish a mission there. Read the full series description below.

During the latter years of British rule in India, ambitious young nun Sister Clodagh heads a mission to a remote part of the Himalayas. The palace of Mopu has been donated by General Toda Rai, who hopes the Sisters of St.

After abruptly pulling the George Nolfi-directed The Banker on the eve of its closing-night berth at AFI Fest last year and indefinitely postponing the December 6 release that was to mark Apple’s debut as a theatrical distributor, Apple has finally come forward and dated the period film for a March 6 theatrical release before it is placed on the Apple TV+ streaming service March 20.

Apple’s PR has steadfastly been ducking calls on this situation, which cropped up after allegations were made of sexual assault by Cynthia Garrett, who said her brother Bernard Garrett Jr molested both she and her sister when they were children.

The film tells the story of two black entrepreneurs, Bernard Garrett Sr (Anthony Mackie) and Joe Morris (Samuel L. Jackson), who after becoming millionaires through Los Angeles real estate dealings banded together to buy banks in Texas, a perilous pursuit in the Jim Crow South.

Audiences this past weekend caught the first teaser for A Quiet Place Part II in theaters attached to Jumanji: The Next Level and Black Christmas.

The quiet tension inside the theater from just the 30 seconds was so palpable it was like watching the original movie all over again.

This morning Paramount Pictures has released the first poster (keep a sharp eye out for a radio tower in the distance) and that teaser online for director John Krasinski highly anticipated sequel.

The first trailer will drop on New Year’s Day.

The original brilliant horror film was my number one pick of 2018. The highlights were the amazing score from Marco Beltrami, the intimate cinematography from Charlotte Bruus Christensen and smartly edited by Christopher Tellefsen. A Quiet Place was a surprise hit and for my money, one of the best films from the last decade.

It received several award nominations, including...

“The Banker” director George Nolfi and the movie’s cast, crew, producers, and writers signed an open letter published Monday defending the film based on the life of African American businessman Bernard Garrett. Distributor Apple delayed its release last month after Garrett’s daughter Cynthia Garrett accused her half brother Bernard Garrett Jr., one of the film’s producers, of sexual abuse and helping craft an inaccurate narrative of their father’s life. The filmmakers in their letter wrote the film was based not on the memories of the Garrett children, but from interviews with Garrett himself, and transcripts, court rulings, and media reports. (Via Variety).

In the statement, Nolfi, cast members Anthony Mackie (who protrays Garrett), Samuel L. Jackson, Nicholas Hoult, Nia Long, and others, expressed sympathy for Cynthia Garrett in light of allegations that Garrett Jr. sexually abused her as a child, but defended the film and “its positive message of empowerment.

The cast and crew of “The Banker” are rising to the defense of the film after Apple delayed its release. The technology giant had originally planned to debut “The Banker” in the height of awards season, giving it a prime release date as it moves more aggressively into the content space. However, things changed after Cynthia Garrett, the daughter of the film’s protagonist, Bernard Garrett, accused Bernard Garrett, Jr., one of the film’s producers and her half-brother, of sexual abuse.

In a statement, the film’s director, writer, and producer George Nolfi, as well as cast members such as Anthony Mackie, Samuel L. Jackson, Nicholas Hoult, Nia Long, and other key talent say they stand by the film and “its positive message of empowerment.” While expressing sympathy for Cynthia Garrett, they note that the film is not based on the memories of Garrett’s children, but on interviews with Garrett himself,...

Breaking: On the week that their film was supposed to open in theaters as Apple’s first theatrical release, the makers of The Banker — above and below the line — have issued a statement in solidarity and support for the message contained within a feature film that became embattled when Apple abruptly pulled it from the coveted AFI closing night slot and indefinitely postponed its theatrical release. Apple took those steps after allegations were made in social media posts by Cynthia Garrett — daughter of the film’s main character Bernard Garrett Sr — that her half brother Bernard Garrett Jr (who was listed as co-producer) molested her and her sister decades ago. Garrett Jr has denied those charges and his name immediately disappeared from the producing credits, which he said was his decision. Garrett Jr’s name also doesn’t appear among the 53 who signed the statement below.

Cynthia Garrett has also...

The award is given in memory of UK cinematographer Sue Gibson.

Jakob Ihre has won the National Film and Television School (Nfts)’s third annual Sue Gibson cinematography award for his work on HBO/Sky series Chernobyl.

The award goes to an Nfts cinematography alumnus who has advanced the profession in a significant way.

It is given in honour of cinematographer Gibson, who died in 2016. She was an award-winning Nfts alumna and also the first female president of the British Society of Cinematographers (Bsc). Her credits include Alien v Predator, The Holiday and Poirot.

The other nominees this year were...

One of the more hotly-awaited lists of the year has just dropped: the annual Sundance Institute Directors and Screenwriters Labs. Providing support and mentorship to filmmakers since 1981, the Labs boast alumni ranging from Boots Riley to Chloe Zhao, Quentin Tarantino to Ritesh Batra. This year’s labs take place from May 27 – June 18 (Directors) and June 20 – 24 (Screenwriters). Advisors for the month include Robert Redford, Gyula Gazdag (Artistic Director for the Directors Lab), Sandra Adair, Scott Z. Burns, Charlotte Bruus Christensen, Sebastian Cordero, Joan Darling, Suzy Elmiger, Rick Famuyiwa, Stephen Goldblatt, Keith Gordon, Randa Haines, Ed […]...

One of the more hotly-awaited lists of the year has just dropped: the annual Sundance Institute Directors and Screenwriters Labs. Providing support and mentorship to filmmakers since 1981, the Labs boast alumni ranging from Boots Riley to Chloe Zhao, Quentin Tarantino to Ritesh Batra. This year’s labs take place from May 27 – June 18 (Directors) and June 20 – 24 (Screenwriters). Advisors for the month include Robert Redford, Gyula Gazdag (Artistic Director for the Directors Lab), Sandra Adair, Scott Z. Burns, Charlotte Bruus Christensen, Sebastian Cordero, Joan Darling, Suzy Elmiger, Rick Famuyiwa, Stephen Goldblatt, Keith Gordon, Randa Haines, Ed […]...

Can “A Quiet Place” become a rare horror film to compete for Best Picture at the Oscars? The box office sleeper hit about a family forced to live in silence to hide from monsters with super-sensitive hearing has earned nominations at the PGA, WGA, SAG, Golden Globe and Critics’ Choice Awards, so it’s frighteningly possible. Gold Derby recently spoke with director, star, and co-writer John Krasinski; actress Emily Blunt; screenwriters Bryan Woods and Scott Beck; producers Brad Fuller and Andrew Form; cinematographer Charlotte Bruus Christensen; and supervising sound editors Ethan Van der Ryn and Erik Aadahl about their work.

See As Oscar nominations voting enters final weekend, what films are on the bubble?

When Krasinski first read the spec script he “was holding a three-week-old girl reading about what you would do to protect your kids. Those early days of parenthood are genuinely terrifying. You are checking if they...

Cinematographers know when they’ve got a great shot, but that doesn’t mean those always end up in the final cut. During Gold Derby’s Meet the Experts: Cinematographers panel, moderated by this author (watch above), Charlotte Bruus Christensen (“A Quiet Place”), Rachel Morrison (“Black Panther”), Caleb Deschanel (“Never Look Away”) and Robert Richardson (“A Private War”) revealed what they do — or don’t do — if they think the director used the wrong take.

“Maybe I’m the only but I have [thought that],” Christensen said with a laugh. “Those editors! And I tell them.”

Ultimately, though, the film is the director’s vision, and the “best” shot might not be the “right” shot for the story — or even the right scene. “The movie I just shot, the director texted me and was like, ‘By the way, the riot’s not in the cut,’” Morrison said. “It’s almost more when...

Charlotte Bruus Christensen shot two dialogue-heavy films back to back: Denzel Washington’s adaptation of August Wilson’s play “Fences” (2016) and Aaron Sorkin’s directorial debut “Molly’s Game” (2017). But her next film, “A Quiet Place,” hardly had any dialogue at all. “Aaron Sorkin and 200 pages of non-stop dialogue to ‘A Quiet Place’ was a bit of a jump,” Christensen said at Gold Derby’s Meet the Experts: Cinematographers panel, moderated by this author (watch the exclusive video above). “That was a difficult challenge but a great one too.”

The Dp boarded the horror film after Emily Blunt, with whom she worked on “The Girl on the Train” (2016), connected Christensen with her husband John Krasinski. “She called me one day and said, ‘My husband’s going to direct this movie. He’s very excited about it. What do you think about having a chat with him?’ I said, ‘Of course,...

Don’t miss our upcoming special Q&A panel as Gold Derby welcomes four of the top cinematographers in the world on November 29. Join us at the Landmark Theater on Pico Blvd. in Los Angeles for the event at 7:00 Pt. It’s free to anyone who wants to attend, but top priority in getting one of the limited seats is to be a guild member or Oscar voter.

Click the following link to register: https://meettheexpertscinematography.splashthat.com

Our senior editor Joyce Eng will moderate the Q&A with the following contenders for 2019 awards consideration:

Charlotte Bruus Christensen represents Paramount for “A Quiet Place”

Christensen is also known for her work on such films as “The Girl on the Train,” “Fences” and “Molly’s Game.”

Caleb Deschanel represents Sony Pictures Classics for “Never Look Away”

Deschanel is a five-time Oscar nominee for “The Right Stuff” (1983), “The Natural” (1984), “Fly Away Home...

Award named after the late Sue Gibson award recognises an Nfts cinematography alumni.

Roger Deakins will be the recipient of the 2018 Sue Gibson Bsc Cinematography Award, the UK’s National Film and Television School (Nfts) has announced

The award recognises an Nfts cinematography alumnus who has “advanced the profession of cinematography in a significant way”. It was first presented last year.

Gibson, who died in 2016, was an award-winning Nfts alumna and also the first female president of the British Society of Cinematographers (Bsc). Her credits indlude Alien v Predator, The Holiday and Poirot.

Deakins won his first Oscar earlier this...

The list includes Roger Deakins and last year’s winner Charlotte Bruus Christensen.

Roger Deakins and Charlotte Bruus Christensen are among the six nominees for the annual Sue Gibson Bsc Cinematography award presented by National Film and Television School (Nfts).

Now in its second year, the award recognises a member of Nfts Cinematography alumni who has advanced the profession of cinematography in a significant way.

The nominees are:

Ula Pontikos for Film Stars Don’t Die In Liverpool Benjamin Kracun for Beast Charlotte Bruus Christensen for A Quiet Place Roger Deakins for Blade Runner 2049 Benoit Soler for Mobile Homes Jakob Ihre...

“A Quiet Place” is an amusing title for what turns out to be a meticulously muscle-clenching exercise in gimmicky horror, the type that imagines a future population terrorized by sight-challenged predators who hunt by human noise. The title is all kinds of winking: It sounds like a lost Horton Foote play about hardscrabble people of the land, and yet that’s the setting here — a quaint, secluded farm, only the struggle is to survive being ripped apart by aliens.

Then there’s the last thing a theater showing a well-made horror movie is … again, see title. Director-star-co-writer John Krasinski’s careful deployment of nerve-distressing moments doesn’t even need a burst of gnarly monster to get an audience vocalizing: listen for the crowd reaction when his wife (off and onscreen) Emily Blunt cautiously ascends a staircase, and the camera stays back to show an errant nail jutting from a step, awaiting someone’s bare foot on the way down.

The collective, dread-inducing moan I heard from the audience around me at that reveal is surely, in my estimation, what horror filmmakers live for more than the shock and gore. (Because it’s real suspense; like Hitchcock’s ticking bomb under the table, we know it’s there.)

Watch Video: John Krasinski, Emily Blunt Live in Fear in First Trailer for 'A Quiet Place'

So yes, “A Quiet Place” is sweat-it-out fun in a trap-rich minefield. (I would also have been happy with a “Get Out”-like exclamatory title: maybe “Shut the F— Up”?) It’s also perfectly in keeping with the near-ubiquity of whisper-acting lately across television and movies of all stripes, dialogue delivered as if mumbling weren’t inarticulate enough. Finally, here’s a movie in which hushed talking would make absolute sense. And yet communication in the Abbott family is mostly with sign language, since their pre-teen oldest, Regan (Millicent Simmonds), is deaf.

Of course, Asl is a beneficial tool when speaking is a no-no, until you realize a child who can’t hear also can’t tell when she’s making a sound. (Hence, the markers in the floorboards that tell Regan where they won’t squeak.) It’s one of the cleverest things about the survival architecture of “A Quiet Place”; what seems ingeniously helpful in one sense can suddenly look useless when applied to other scenarios. At the same time, in the screenplay by Bryan Woods, Scott Beck, and Krasinski, there are tactics to outlast the creatures when in their midst — it’s related to a given noise’s volume — which creates other pulse-quickening moments of near-miss panic.

Also Read: Emily Blunt and John Krasinski Explain Why They Joined Forces for 'A Quiet Place' (Exclusive Video)

After a ghost-town-foraging prologue that introduces the Abbott clan as a tight unit, but then deals them a horrific tragedy, “A Quiet Place” settles in nearly a year later at their forest-enclosed homestead, where a system of lights, soft household items (they eat on leaves instead of plates), sanded pathways and padded spaces ensure a base level of safety for Lee (Krasinski), Evelyn (Blunt, sublimely good), Regan, and Marcus (Noah Jupe, “Wonder”).

Security-minded Lee toils away in his lair of radios and electronic parts trying to find survivors or to build a better hearing aid. Otherwise he’s a grim-faced survivalist with little time to address Regan’s sense of neglect, feeling that dad considers her the weak link. Simmonds, who made such a strong impression in “Wonderstruck,” continues to impress here, deftly offering a believable picture of how jeopardy and inner turmoil motivate a lonely adolescent.

Watch Video: 'A Quiet Place' Star Emily Blunt on Working With Director-Husband John Krasinski: 'Wonderful Relief'

At the top of the readiness concerns, however, is Evelyn’s pregnancy. But as prepared as the family is — from a soundproofed barn bunker for the birth to the creepily coffin-like box through which oxygen can be pumped to an squealing infant — Evelyn’s unexpected labor still partly triggers the second half’s rollicking succession of nail-biting encounters with the audio-aroused and relentless fiends. You won’t get a description here of the shrieking, hungry predators (who wants a design spoiler?) but they’re among the nastiest-looking in recent memory.

Krasinski, aided greatly by Charlotte Bruus Christensen’s textured cinematography, knows when the monsters are best kept offscreen and when to give them their close-up. And as you might expect in a movie that hinges on sound, the mix of silence with noises variously environmental, exposing, and terrifying, coupled with the occasional music-laced excitement (Marco Beltrami composed the score), is spot on.

“A Quiet Place” grounds its existential fear with a fair amount of emotion, too, convincingly played. Threaded throughout the peril is a simple but effective message about familial love, communication, and sacrifice, and there are just enough small moments — for the cast to convey with their faces between major frights — that serve to deepen things ever so slightly.

Whether you’re in it for the ride, or the story of loved ones under siege, it’s safe to say nobody could have expected Krasinski (after two unassuming features, including the dysfunctional-clan dramedy “The Hollars”) to have this in him as a director. Maybe for some filmmakers sincerely interested in human emotions, all they need to show their stuff is to add monsters.



Read original story ‘A Quiet Place’ Film Review: Make Some Noise for John Krasinski’s Nerve-Racking Horror Tale At TheWrap...

PG-13 is usually the kiss of death for horror. Reliant on jump scares, an absence of gore, and an aim to be just terrifying enough to still work for teenagers, it’s the wheelhouse for horror sequels and throwaway ghost stories. Then, we have A Quiet Place. This is a true cut above. What John Krasinski has accomplished here is truly remarkable. From the first Teaser Trailer, it seemed like this had potential. Then, having seen it last week, I was blown away. It’s truly a new horror classic, along with being one of the five best movies that I’ve seen in 2018 so far. The film is a fright flick that actually manages to scare you while still telling a riveting story. Set in the days after a devastating alien invasion, we follow a family who has managed to spend the months since surviving in upstate New York.

Horror films might have not lost their popularity, but a vast majority of them these days prove the well-worn genre is losing its mojo. Heightened sound effects and music cues are all-too-predictable ways to try to scare audiences, but truly innovative or classic contemporary examples — with the occasional exception of a not easily defined hybrid that comes along to break the mold like Get Out — are not easy to find. Well, I have found one.

A Quiet Place is a genuinely effective, brilliantly executed piece of horror, a truly terrifying movie that earns its screams by essentially turning off the sound. Not since a blind Audrey Hepburn turned off the lights in Wait Until Dark a half-century ago have I had this kind of anxiety watching a movie. Director John Krasinski — who also co-wrote with Bryan Woods and Scott Beck, co-produced, and co-stars with wife Emily Blunt — has delivered an...

Did you ever think that quiet – the hush in which no talk is above a whisper – could scare the hell out of you? A Quiet Place does just that, raising the stakes on terror until no one can hear you scream. As director, star and cowriter (with Bryan Woods and Scott Beck), John Krasinski hits on a killer hook: What if a family of four, among the few left alive after a monster apocalypse, can survive on their upstate New York farm as long as they don't make a sound?...

“A Quiet Place” develops its horrifying premise around a gimmick perfect for cinematic storytelling — in a post-apocalyptic countryside, monsters are drawn to their prey by sound, so human survivors can barely exchange more than whispers. Directed with first-rate visual flair by John Krasinski (who knew?), this riveting near-silent thriller exudes the despair of a broken world with the concision of a Cormac McCarthy novel folded into a simplistic B-movie premise. Utilizing the pure physicality of a cast you can count on one hand, the movie maintains a minimalist dread throughout, with every footstep or sudden move carrying the potential for instant death.

Read More:John Krasinski: Wife Emily Blunt Agreeing to Star in ‘A Quiet Place’ Was ‘The Best Compliment of My Career’ — SXSW 2018

“A Quiet Place” establishes dread from its opening minutes as dirty feet tiptoe through a dilapidated grocery store and a nameless family searches for supplies. Two children...

School to receive the Outstanding British Contribution to Cinema Award.

The UK’s National Film and Television School will receive the Outstanding British Contribution to Cinema Award at this year’s Bafta ceremony on Feb 18.

Source: Nfts

Marc Samuelson, chair of Bafta’s Film Committee, explained the decision: “The Nfts provides a fantastic training ground for the next generation of creative talent - each year many of Bafta’s talented scholarship recipients receive their training at the school, and an overwhelming number of its students and alumni go on to become Bafta-winners and household names. The Nfts is a truly integral part of our industry, and is hugely deserving of this award.”

Opened in 1971, the Nfts boasts alumni including directors Sarah Gavron (Suffragette), Lynne Ramsay (We Need To Talk About Kevin) and David Yates (Fantastic Beasts and Where to Find Them), cinematographers Roger Deakins (Skyfall) and Charlotte Bruus Christensen (Molly’s Game), and composer Dario Marianelli (Darkest House).

The...

Merry Christmas! As you open your presents, a really terrific film is also opening today, in theaters. It’s Molly’s Game, the directorial debut of ace scribe Aaron Sorkin. Long considered one of the best writers in Hollywood, he’s moved behind the camera to direct this drama, becoming a full fledged filmmaker. Sorkin makes a terrific debut here too, showing he’s just a strong a director, which is exciting to consider when thinking about his future. Now out in theaters, it’s potentially an awards player too. If that doesn’t scream must see, I don’t know what does. This is a flick not to miss, ladies and gentlemen. The film is a biopic of Molly Bloom (Jessica Chastain), a former Olympic quality skier who ended up running some of the most notorious poker games in the country. In adapting her memoir, the movie showcases Molly...