framing films

10

My small wish: Benedict and Martin filming a cop movie.
I want Benedict as a new, enthusiastic stubborn cop and Martin as a bad dirty cop. They hate each other at first but soon realize they’re actually good partners.

10

In the Mood for Love (2000)

Directed by Wong Kar-Wai
Cinematography by Christopher Doyle, Pung-Leung Kwan, Ping Bin Lee

“He remembers those vanished years. As though looking through a dusty window pane, the past is something he could see, but not touch. And everything he sees is blurred and indistinct.”

3

Throughout Amadeus, Miloš Forman chooses to strengthen several shots by means of repetition. In this triptych he shows the film’s main characters, at different points, closing the same door. Normally when this is done in filmed narrative, it’s used as little more than a device to motivate an edit or signal a transition between story beats, but as the door shuts Forman has each actor drift to follow the rapidly shrinking frame. The eye is deprived as the angle of view approaches a vanishing point. It is in this deprivation that our focus intensifies, and in the second before the window is gone, we are allowed an almost confessional glimpse of each individual lowering their mask.