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Neon-Noir Or Reflecting Cultural Commentary or Neon Space in Film

Master cinematographer, Christopher Doyle, was asked to comment on the way neon lights and lighting have impacted his work. As as part of the online exhibition from Mobile M+ and NEONSIGNS.HK, he revisited some of the locations in which he and Kar-wai Wong filmed some of iconic work:

“The films we made at a certain period in the 80’s and 90’s wouldn’t be this way if it wasn’t for the space in which they were made…”

Beauty hides in the shadows…
Carina Lau
Days of Being Wild
Kar-wai Wong, 1990
Cinematography | Christopher Doyle

“…And our space is a neon space. It’s a light space. It’s a space of energy that is electric. It’s the way people move. It’s the energy of Hong Kong. It’s the excitement of the encounters on the street. And it’s lit by neon, basically. Especially at that time.”

Surviving in a Neon World
Tony Leung
Chungking Express
Kar-wai Wong, 1994
Cinematography | Christopher Doyle

“It’s a garish, exuberant possibly empty world if you’re not careful. I think that’s what neon is representing.” — Christopher Doyle, Filming in the Neon World.

For the full film/interview click here:

“Without any warning, she suddenly enters the store. I don’t know how long she’ll stay.”
Fallen Angels
Kar-Wai Wong, 1998
Cinematography | Christopher Doyle

Doyle’s work for Kar-wai Wong is some of the best cinematography one can ever expect to see. As he explains, it is exuberant — It is also erotic, unique, sensual, dangerous, disorienting and staggeringly beautiful. The shot posted above takes place in a space few of us would want to actually spend time. Much of Fallen Angels seems dirty and possibly even sinister, but eyes do not want to part with the visuals Doyle has captured. Less than a year later he would make his debut as a feature filmmaker. Away With Words featured one of Japan’s hottest actors, Tadanobu Asano, and an impossibly cool use of music. Most importantly, it was visually amazing. The images of Away With Words imprinted on my brain. Sadly Doyle’s movie was never lucky enough to receive adequate distribution. But for those of us who did see it — the movie lives on.

The criminally neglected and forgotten…
Tadanobu Asano
Away With Words / San tiao ran
Christopher Doyle, 1999

The world contained within Away With Words is magically infused with neon light. The movie actually seems to radiate much of the time. This film can still be found via DVD, though it has never received a proper transfer. It is still worth seeing. It is also almost impossible to find any screenshots that do it justice. I must disclose that Christopher Doyle is my favorite cinematographer. For me to write this is a big deal. I love cinematography and there are many artists I admire — but it is usually hard for me to pick out one artist above all others. I do not have this problem when it comes to cinematography. No one shoots a film like Mr. Doyle.

“Turns out that lonely people are all the same.”
Leslie Cheung and Tony Leung
Happy Together
Kar-wai Wong, 1997
Cinematography | Christopher Doyle

The use of neon lighting for film has been going on for some time. It’s seem obvious that lighting is as key to a movie as editing, but it is far more complex than simply providing enough light to capture an image. Lighting allows the filmmaker and cinematographer to not only guide but to literally shape a film’s meaning. Cinematography incorporates all essential elements to form the essence of a movie. When one thinks of neon lighting for film, it would seem it best for creating either a sterile environment or a world of shadows with the intention of menace or horror. But the use of neon lighting is almost limitless in what it can convey. It all depends on how well the cinematographer understands lighting, is able to collaborate with lighting technicians and how creative he/she is in bringing a personal vision that highlights the essential one belonging to the film’s director.

Gallo horror has never been more beautiful or surreal. This is the perfect example of a great cinematographer.
Jessica Harper suspects witchery.
Suspiria
Dario Argento, 1977
Cinematography | Luciano Tovoli

Argento’s Suspiria is a neon lit nightmare. Luciano Tovoli’s camera gives the gratuitous violence and paranormal horrors a sinister sort of beauty without getting in Argento’s way. The cinematographer works for the director, but he/she can bring forth magic that the director is often only able to imagine.

In a passive chronological order, take a look at the following shots that incorporate The Neon World into the frames and meanings of the respective films.

“How much?”
American Gigolo
Paul Schrader, 1980
Cinematography | John Bailey

Bailey’s use of neon reds and blacks is the perfect concept for dark eroticism and ever-present danger and paranoia.

Neo-Noir / Neon-Noir meets The Beautiful / The Dangerous
Rutger Hauer
Blade Runner
Ridley Scott, 1982
Cinematography | Jordan Cronenweth

I was too young when I first saw Blade Runner to be able to own the language of film, but when I noticed it was referred to as “Neo-Noir” I do remember thinking “Neon-Noir” seemed more sensical. A few years later I would begin to make the connection. I still like the term “Neon Noir” even if it isn’t real.

“This is not a marketplace.”
Thief
Michael Mann, 1981
Cinematography | Donald E. Thorin

Michael Mann had great luck bringing the neon world to Thief, but the same can’t be said for One From The Heart. Even still, it is a beautiful looking mess of a movie.

Suppose you had Tom Waits create an amazing score and perfected visuals to a neon-infused glow — and nobody came to see it?
Nastassja Kinski glowing…
One From The Heart
Francis Ford Coppola, 1982
Cinematography | Vittorio Storaro /
Ronald Víctor García

Tony Scott’s The Hunger is seamlessly beautiful — the film’s opening moments/credits are unforgettable and immediately set the stage. Shadowed, cool, stylish and throbbing with electricity and hyper eroticism — this world is beguiling, but we all know that Bela Lugosi’s Dead.

“Nothing human loves forever…”
Peter Murphy
The Hunger
Tony Scott, 1983
Cinematography | Stephen Goldblatt

Ken Russell may have not had a big budget, but he understood how he exactly how he wanted to capture China Blue’s surreal world of fantasy, cheap thrills and escape. Dick Bush was a master, but it was usually his director’s who pushed him forward. And he never failed them.

Welcome to the Neon Surrealism of Ms. China Blue…
Kathleen Turner
Ken Russell, 1984
Cinematography | Dick Bush

Wim Wender’s Paris Texas seems an odd fit for utilizing the idea of a Neon-drenched world, but Robby Muller brings the idea to glorious use more than a couple of times within Wender’s concept.

There is distinct beauty and sadness in every shot…
Paris Texas
Wim Wenders, 1984
Cinematography | Robby Muller

David Lynch’s collaborations with the great Frederick Elmes never fail to seduce, hypnotize and repulse. Blue Velvet is a classic example of Neo-Noir …and Neon-Noir Surrealism.

This is not your grandparents Film Noir…
Isabella Rossellini
Blue Velvet
David Lynch, 1986
Cinematography | Frederick Elmes

Finding the image from Paul Verhoeven’s Basic Instinct was not as easy as I had expected. Most remember this film for Sharon Stone’s brave and no-hold-barred performance (and flash!) but I always think of that amazing scene where the detective enters a raving dance club to find his Femme Fatale. This is not a good example of the way Jan de Bont was able to capture the electric energy of this nightclub, but you can get the general idea. It was too masterful to leave out.

Forgive the poor quality image, but lighting intensity adds to the protagonist’s adrenaline rush as he navigates a San Francisco night club.
Basic Instinct
Paul Verhoeven, 1992
Cinematography | Jan de Bont

Michael Mann had already established a magical sort of neon energy for the protagonist of Thief, but he found new ways to utilize it for the visually dazzling, HEAT.

A familiar story is captured in brilliant moments of light, shadow, form and reflection.
HEAT
Michael Mann, 1995
Cinematography | Dante Spinotti

Terry Gilliam and Nicola Pecorini bring neon, chaos, paranoia and delirium to Las Vegas of the late 1960’s.

The neon glow of Vegas seeps into the hotel rooms, desert and a drug fueled mind.
Fear and Loathing in Las Vegas
Terry Gilliam, 1998
Cinematography | Nicola Pecorini

Skipping ahead a few years and even Jason Statham gets the neon touch…

“Now I go back to the street and disappear.”
This spaces of this Neon World threaten with lighted colors.
Jason Statham
Steven Knight, 2013
Cinematography | Chris Menges

Yorick Le Saux adds a whole new context of meaning to Jim Jarmusch’s already cool vampiric world…

Love, Marriage and devotion in a world of neon light.
Tilda Swinton and Tom Hiddleston
Only Lovers Left Alive
Jim Jarmusch, 2013
Cinematography | Yorick Le Saux

Just as one should never attempt to mention neon lighting in film without a discussion of Christoper Doyle’s masterful work — it would be tragic to not highlight Benoit Debie’s cinematography. Harmony Korine has always been astute regarding his cinematic visions, but Debie brings a hue to Spring Breakers that only he could create.

Teen rebellion and rape culture are satirized in a fusion of neon and electrified dub-steps…
Spring Breakers
Harmony Korine, 2012
Cinematography | Benoit Debie

The critics may have dismissed Ryan Gosling feature film directorial debut, but I still contend they were wrong. If nothing else, Benoit Debie added neon drenched meanings, mystery and surreal horrors forward in Lost River. The film is not perfect, but it arches forward in simultaneously borrowed but eccentric uniqueness. In its own way, Lost River, if almost brilliant. This is no one’s standard coming of age movie.

“Live” Adult Entertainment takes a very glowing dark turn…
Eva Mendes
Lost River
Ryan Gosling, 2014
Cinematography | Benoit Debie

Just as Christopher Doyle will forever be linked with Kar-wai Wong — so will Benoit Debie with Gaspar Noe. It is a supreme compliment to both directors that they have been able to collaborate so beautifully with two distinctly brilliant cinematographers. While all four are linked respectively together — Wong and Noe have never been hesitant to share the credit for the power of the fieldwork.

Strong case in point, Noe actually shares cinematography credit with Debie for Irreversible. It says a great deal that I am never sure who is behind the camera in this deeply disturbing film. Irreversible is a remarkable work of cinematic art, but it is almost as problematic. One thing is most certain, the quality of the camerawork and use of lighting can only be praised. Even if you have opted to not put yourself through the inhumane horrors of this film — I suspect you will recognize this image.

Neon lighting radiates sinister energy as Monica Bellucci leads the camera to one of the most disturbing and controversial scenes of sexual violence ever put to film…
Irreversible
Gaspar Noe, 2002
Cinematography | Benoit Debie

And when it comes to the power of neon lighting within the context of filmmaking, one would be hard pressed to think of a better example than Gaspar Noe’s Enter The Void. Intentionally a trip of a film experience, Benoit Debie’s mark is ever-present.

“It’s fucking cold.”
ENTER THE VOID
Gaspar Noe, 2009
Cinematography | Benoit Debie | Cinematography

“I can’t believe this is real.”
ENTER THE VOID
Gaspar Noe, 2009
Cinematography | Benoit Debie

And while Love may not be much of a movie, it is often amazing to watch for visuals alone. Once again, Debie infuses neon light throughout.

The Neon replaces the passion and thrills of romance and sexual release…
Karl Glusman and Aomi Muyock
Love
Gaspar Noe, 2015
Cinematography | Benoit Debie

And if there is one director who has spent a career studying and utilizing neon for filmmaking it would be Nicolas Winding Refn. Even under the constraint of a limited budget, his focus was on capturing the energy, insanity and terror of the drug underworld via lighting. The Pusher Trilogy shows what a skilled artist can do with very little.

Burning the image to neon is not new to Mr. Refn
PUSHER
Mads Mikkelsen
Nicolas Winding Refn, 1996
Cinematography | Morten Soborg

The film itself may be flawed, but Fear X is of note because it marks the first collaboration between Refn and Larry Smith. Paranoia, fear, rage, mystery and horror benefit from a very neon-ed space.

Accidental Death or murder? These spaces offer menacing paranoia.
John Turturro
Fear X
Nicolas Winding Refn, 2003
Cinematography | Larry Smith

2008’s Bronson is a cinematic marvel on more than a few counts — one of them is the way in which Larry Smith pushes neon to the limits to merge reality with the fantasy of Surrealism.

Realism, Surrealism, Desire, Isolation and fantasies bleed to form a life trapped in a neon-glow.
Tom Hardy
BRONSON
Nicolas Winding Refn, 2008
Cinematography | Larry Smith

Nicolas Winding Refn and Larry Smith use Drive to serve as the perfect synthesis of their shared vision. It is all about style and manipulation of light.

“Is he a bad guy?”
Drive
Nicolas Winding Refn, 2011
Cinematography | Newton Thomas Sigel

The envelope got pushed off the table and then blown toward the door for their next collaborative effort, Only God Forgives. While it is not a perfect movie, it is certainly not the flop that so many critics wanted us to believe. Only God Forgives is a metaphorical nightmare that often looks more animated than real. Odd and completely unforgettable — another exorcise in style and manipulation.

"Time to meet The Devil." Bathed in Neon, Kristin Scott Thomas isn't worried. Nicolas Winding Rein, 2013 Cinematography | Larry Smith

“Time to meet The Devil.”
Bathed in Neon, Kristin Scott Thomas isn’t worried.
Nicolas Winding Refn, 2013
Cinematography | Larry Smith

Sadly Larry Smith was not involved in Mr. Refn’s next experiment, but it is unlikely that Refn would have budged even the slightest. The title says it all. The Neon Demon is a cinematic error. This time Refn didn’t even bother to push the envelope. He simply refused to acknowledge that an envelope existed. Beautiful, seductive, twisted and so cool it is almost frozen — The Neon Demon stands indignant and absolutely lost in the garishness of its own neon glow.

And, cue the tipping point…
The Neon Demon
Elle Fanning
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

Jenna Malone is the only actor who manages to walk away unscathed. Of course this Demon is so very neon, we sometimes can hardly see her.

Neon lighting so deep we can barely see it. This might be a good thing.
Jenna Malone is full of beauty…
The Neon Demon
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

It may not work, but Natasha Braier is certainly up for the challenges her director presents.

The Neon Demon
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

Matty Stanfield, 9.20.2016

Criminals, Whores and Outsiders Or The Magic of Christopher Doyle

He might not be the first name that pops into the minds of cinephiles, but Christopher Doyle is one of the most important cinematographers working. When he is behind the camera, the film’s world suddenly envelops us in unique perspectives blending color, movement and shadows together in such a way that even the ugliest corners of the world are transformed into a sort of rapturous beauty. At the same time, he has the gift of bringing his vision into focus with that of his director. I find it almost impossible to describe the ways in which Doyle can take dilapidated walls, cracks, rusted objects, smoke or even human brutality and create a visionary sort of rainbow.

Maggie Cheung and Tony Chiu Wai Leung in the shadows of perspective.
In the Mood for Love
Kar-wai Wong, 2000
Cinematography | Christopher Doyle

I often find myself wanting to reach through the screen and touch the objects that catch his camera’s eye. It is the fact that I always have an immediate response to not move my arms or hands. Very often what Christopher Doyle films are objects that ordinarily I would have no interest in touching. The images project a sort of beauty, but they are never denied reality.

Tadanobu Asano’s good looks can’t pull our eyes away from where he stands. This stance is both literal and metaphorical.
Invisible Waves
Pen-Ek Ratanaruang, 2006
Cinematography | Christopher Doyle

Christopher Doyle’s work with Pen-Ek Ratanaruang remains as fresh and oddly sensual as when their collaborations were first released. Dark stories of lost and damaged people trying to find their way to better places. Doyle’s camera forms as much of these stories as do Ratanaruang and his casts.

A lizard slithers up the wall behind Kenji’s library…
Last Life in the Universe
Pen-Ek Ratanaruang , 2003
Cinematography | Christopher Doyle

Pen-Ek Ratanaruang’s Last Life in the Universe follows the story of a lonely man who only begins to find a bit of hope after a criminal arrives to his apartment. This hope is found in the form of another’s tragic death. The grief stricken begins to bond with Kenji, an intelligent outsider who has lost all hope.

Even the unwanted arrival of a criminal fails to fill Kenji’s world. He is alone and lonely.
Last Life in the Universe
Pen-Ek Ratanaruang, 2003
Cinematography | Christopher Doyle

Doyle’s camera captures this story from a number of perspectives and frames filled with colors, shadows and meanings.

Could this really be happening? A beautiful young woman allows Kenji into her home and falls asleep within his grasp. The perspective indicates a distance, but retains a sense of warmth and possibility.
Tadanobu Asano and Sinitta Boonyasak
Last Life In The Universe
Pen-Ek Ratanaruang, 2003
Cinematography | Christopher Doyle

Last Life in the Universe is a quirky, darkly comical and often disturbing Thai film that is as realistic as it is absurd and surreal. A criminal enters the void of Kenji’s solitary life in Bangkok and a series of disturbing events leads him to enter the life of a female polar opposite to himself. Distorted and contradictory in image as it is in story, Ratanaruang’s film is a surprisingly emotional love story.

A change in perspective and a later shift of natural light indicates that our protagonist finds some momentary piece. And a frame from the film serves as the film’s poster.
Tadanobu Asano and Sinitta Boonyasak
Last Life In The Universe
Pen-Ek Ratanaruang, 2003
Cinematography | Christopher Doyle

Doyle’s work with Kar-wai Wong is the thing of cinematic legend. Just take a look at the following frames.

Brigitte Lin’s hard character hides behind a blonde wig and dark cigarettes. Very often she, like most of the film’s characters, seems to be frozen while the chaos of her world speeds by her.

A world of crowded chaos whirls past as the characters navigate it.
Brigitte Lin
Chungking Express
Kar-wai Wong, 1994
Cinematography | Christopher Doyle

Kar-wai Wong and Christopher Doyle would forge a shared vision through the 1990’s.

Our gay lovers are in love but seem to hate each other most of the time. Close but far at the same time.
Happy Together
Kar-Wai Wong, 1997
Cinematography | Christopher Doyle

Wong’s 1997 gay-themed film, Happy Together, shows two men attempting to hold on to each other in a culture that refuses them. When they are together, they are far apart.

Alone even the mundane and sad take on a sort of beauty…
Leslie Cheung
Happy Together
Kar-wai Wong, 1997
Cinematography | Christopher Doyle

A Hong Kong film that pushed the envelope and delivered something very unexpected. The power largely emanates from Doyle’s camera work.

Drink, polaroids and cigs seem to fight for light.
Happy Together
Kar-wai Wong, 1997
Cinematography | Christopher Doyle

In 1999 Christopher Doyle would make his directorial and film writing debut with Away With Words. The film was not a complete success and is largely viewed as a cult film thanks to the fact that Doyle’s pal, Tadanobu Asano, agreed to star. But Away With Words is highly undervalued. This is a brilliant slice of late 1990’s ennui. It is a fascinating snap shot of a world that would all be changing very quickly. It also features some of Doyles best cinematography.

Tadanobu Asano sleeps in a vacated neon and crushed velvet world.
Away With Words
Christopher Doyle, 1999

A neon-drenched world of pop…
Away With Words
Christopher Doyle, 1999

If a film has Christopher Doyle as its cinematographer, I am there. It took me almost two years, but I was finally able to see KHAVN’s 2014 film, Ruined Heart — or full title: Ruined Heart: Another Lovestory Between A Criminal & A Whore. Khan De La Cruz, or as he prefers to be known, KHAVN, does not follow the rules of conventional cinema. Most likely he doesn’t follow rules at all. It actually says a great deal that Christopher Doyle took the job as his cinematographer for the film.

Ruined Heart: Another Lovestory Between a Criminal & a Whore
KHAVN, 2014
Cinematography | Christopher Doyle

When I was finally was able to sit down and experience KHAVN’s Ruined Heart the mixture of this poet turned filmmaker and Christopher Doyle’s cinematography stole my breath. As far as plot goes, KHAVN tells you everything you need to know with the title. Ruined Heart: Another Lovestory Between A Criminal & A Whore sums it all up, but don’t be fooled — there is a great deal more to be found here. This may be a story that has been told a thousand times by various film artists, but it has never been told quite like this one. With Doyle’s assistance, KHAVN finds a whole new way to tell a tired story.

KHAVN forms two new types of mythological hybrids that roam the unnamed town in The Philippines: The criminal becomes a human with the head of a horse and our whore becomes a black-winged angel.
Tadanobu Asano and Nathalia Acevedo seem to be at peace as they roam a city of violence.
Ruined Heart
KHAVN, 2014
Cinematography | Christopher Doyle

KHAVN’s attentions are on music, visuals and atmosphere. “The story” is never clearly spoken and it may not even be linear or literal. Harnessing some amazing music and musical performances — particularly from Stereo Total, and swishing all of it together in front of and all around Christopher Doyle’s cameras the movie comes to a neon hypnotic life.

The film’s world is truly drenched in a sort of dirty neon light and ever-changing perspectives thanks to a cinematographer who refuses the camera even a moment of stillness.

The characters of this story are introduced to the audience via a sort of free-form police line-up. Each steps forward as the music cues them respectively. Tadanobu Asano is The Criminal. Natalie Acevedo is The Whore. Elena Kazan is The Lover. Andre Fuertellano is The Friend. And Vim Nadera is The Godfather. There are other suspects who have labels instead of names, but they are all side players to this Post-PUNK tale of love, betrayal and redemption.

Not a film afraid to go there, even a shot of the Criminal’s squirt of passion is rendered a sensual and beautiful image.
Ruined Heart
KHAVN, 2014
Cinematography | Christopher Doyle

As if mocking the very idea of striking any poses, KHAVN uses title cards to indicate intentions. This film is not a PUNK-noir opera. Yet it is full of music and flat out musical numbers. Even still most if not all of the musical performances are almost hidden in the shadows or foreground by Doyle’s amped cinematography.

The music and limited dialogue drifts away from us in both perspective and interest.
Ruined Heart
KHAVN, 2014
Cinematography | Christopher Doyle

Violence, tenderness, caresses and kisses are offered but only amid the darkest of moments. In one of the film’s many strange sequences the consuming of a duck egg is shared with a kiss. The duck egg is offered in a gritty and dirty kitchen. The egg itself appears to have gone. As the male begins to chock and spit out the contents of this shared kiss, he receives a caress. The colors and neon lights burn fast, but this is hardly a beautiful world.

As one of the film’s title cards announces, this film is based on a letter to the storm. The town in which the story unfolds appears to be on the brink of recovering from a major natural disaster. Or maybe the town is just waiting for one to come and wash all the dirt and vice away…

As the street musicians play, the camera moves with chaotic precision to show us the revelers who dance in costume and perform perverse rituals…
Ruined Heart
KHAVN, 2014
Cinematography | Christopher Doyle

This is a world filled with violence, threat, perversity and crime. Stuck in a sort of Carnaval Fever Dream, our Criminal and Whore seem like upstanding citizens. To the film’s credit, they are not. But we do gain a sense that this world is weighing them down. At one point as they make love, The Criminal covers The Whore‘s face with what appears to be a phone book of sorts.

Is he hiding himself from her or her from himself?

As they race toward a mutually shared orgasm, the pages from the book are torn and fall to the floor near the bed. A painting of The Madonna and Child sits watching as the pages of passion fall.

Or maybe The Criminal is hiding his love’s face from The Madonna who sits in the corner of the room…
Ruined Heart
KHAVN, 2014
Cinematography | Christopher Doyle

The actors have very little to no lines to speak. But each performer manages to convey what is needed. Tadanobu Asano really steps up for the film. His on-screen charisma plays a crucial role in advancing the film. He also acts briefly as Christopher Doyle’s camera operator…

Tadanobu Asano’s Criminal guides the camera and perspective to world of cruelty and color…
Ruined Heart
KHAVN, 2014
Cinematography | Christopher Doyle

At arm’s length, we soon see what The Criminal is feeling…

Our perspective is fully dictated by the movement of action to the beat of the drums. There is no escape offered…
Ruined Heart
KHAVN, 2014
Cinematography | Christopher Doyle

The entire production of artists both in front of and behind the camera are in perfect synch with the director, but none are quite as sharply invested as Christopher Doyle’s camera. As our Criminal and Whore attempt to escape the horrific world in which they are trapped — we want them to win, but we already know this score.

Tadanobu Asano can only pause to hide the pain with a smile or a laugh…
Ruined Heart
KHAVN, 2014
Cinematography | Christopher Doyle

I’ve not seen a film this casually cool since Olivier Assayas’ Irma Vep. Like that 1990’s French film, KHAVN’s Ruined Heart never feels like it is trying to be cool. It quite simply doesn’t care. This oft-told story of a criminal and a whore in love and on the lam is moving forward with or without you. KHAVN has made a movie that is cool simply because it is.

The movie is also alive with energy and new ideas related to storytelling. As KHAVN is a poet, the movie does lend itself to the idea of a Cinematic Tone Poem. However such a tired sort of label feels inappropriate.

In fact, none of the film’s characters manage to live up to their respective identifiers. This is not a real Friend. That is a withering Godfather and this Lover has very little love in her heart.

And the Whore is more a lost goddess and her Criminal is a devoted hero.

Romeo may be bleeding beneath the stone angel, but he and his love find a supernatural and mythic escape. The Criminal and The Whore follow their own beat amongst the playing children and hard-working vendors of KHAVN and Christopher Doyles’ imaginary world of ruined hearts.

Aside from two US film festivals, this movie’s screenings in the West have been largely limited to Europe. This magical little movie was issued via region-restricted Blu-Ray in the UK. A briefly printed region-free Blu was issued, but it would appear to have been edited to secure a PG-13 rating. Ruined Heart is currently streaming in pure form on Fandor in the US. It is worth seeing — but then again so are all films lensed by Christopher Doyle.

To the good young Filipino…
Ruined Heart
KAHVN, 2014
Cinematography | Christopher Doyle

See it if you can…

Matty Stanfield, 3.22.2016

Light and Shadow or The Magic of Cinematography

Who’s Afraid of Virginia Woolf?
Mike Nichols, 1966
Cinematography | Haskell Wexler

Cinema is many things, but it is a visual medium. The Cinematographer weaves magic of light, composition, perspective and frames which capture the vision of the film’s director. Here are a few of my favorite cinematography moments. There are other cinematic moments that are better and equally loved, but this are a few that came into my mind…

8½ Federico Fellini, 1963 Cinematography | Gianni Di Venanzo

“Fate is written in the face.” — Federico Fellini

8½ Federico Fellini, 1963 Cinematography | Gianni Di Venanzo

“Our job isn’t to recreate reality, our job is to represent reality.” — Gordon Willis

Klute Alan J. Pakula, 1971 Cinematography | Gordon Willis

Manhattan Woody Allen, 1979 Cinematography | Gordon Willis

September 30, 1955 James Bridges, 1977 Cinematography | Gordon Willis

“The idea is to find the space and then to light it in such a way that the actors can go wherever they like, and then to respond to what the actors have done. Only at that point are the final frames decided upon. So it can be very spontaneous.” — Sean Bobbitt

Shame Steve McQueen, 2011 Cinematography | Sean Bobbitt

12 Years A Slave Steve McQueen, 2013 Cinematography | Sean Bobbitt

Hunger Steve McQueen, 2008 Cinematography | Sean Bobbitt

” When we came to film Persona, we virtually discarded the medium shot. We went from wide shots to close-ups and vice versa. Ingmar had seen a certain resemblance between Liv Ullman and Bibi Andersson, and the idea had dawned of making a film about identification between two people who come close together and start to think the same thoughts. The film gave me the opportunity to explore my fascination with the face…” — Sven Nykvist

Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

“For me, movies should be visual. If you want dialogue, you should read a book.”

Vilmos Zsigmond

The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

Mark Rydell told Zsigmond that The Rose should “look like an abdominal operation.” — Noel Murray of The Dissolve

The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

The Rose Mark Rydell, 1979 Cinematography | Vilmos Zsigmond

Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“Photography is truth. The cinema is truth twenty-four times per second.”

Jean-Luc Godard

Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“A film on prostitution about a pretty Paris shopgirl who sells her body but keeps her soul while going through a series of adventures that allow her to experience all possible deep human emotions, and that were filmed by Jean-Luc Godard and portrayed by Anna Karina. Vivre sa vie.” — Jean-Luc Godard

Vivre Sa Vie Jean-Luc Godard, 1962 Cinematography | Raoul Coutard

“The more one talks, the less the words mean.” — Vivre Sa Vie

Invisible Waves
Pen-Ek Ratanaruang, 2006
Cinematography | Christopher Doyle

“I think the point of cinematography, of what we do, is intimacy. Is intent, is the balance between the familiar and the dream, it is being subjective and objective, it is being engaged and yet standing back and noticing something that perhaps other people didn’t notice before, or celebrating something that you feel is beautiful or valid, or true or engaging in some way.” — Christopher Doyle

Happy Together Kar-wai Wong, 1997 Cinematography | Christopher Doyle

Dumplings Fruit Chan, 2004 Cinematography | Christopher Doyle

“There’s always a shot or a moment you missed; it informs your work rather than takes from it.” — Christopher Doyle

Away With Words
Christopher Doyle, 1999

A Woman Under the Influence John Cassavetes, 1974 Cinematography | Al Ruban

“Mabel is not crazy, she’s unusual. She’s not crazy, so don’t say she’s crazy.” — A Woman Under The Influence

Bronson Nicolas Winding Rein, 2008 Cinematography | Larry Smith

“I’m colorblind, I can’t see mid-colors. That’s why all my films are very contrasted, if it were anything else I couldn’t see it.” — Nicolas Winding Refn

Only God Forgives Nicolas Winding Rein, 2013 Cinematography | Larry Smith

Calvary John Michael McDonagh, 2014 Cinematography | Larry Smith

“I shot much of the film with a handheld Arriflex with a very wide lens and a tiny tobacco tin on the front fitted with a wee bulb to add a bit of fill, just enough to see Catherine Deneuve’s skin in the shadows until I moved in close.” — Gilbert Taylor

Repulsion Roman Polanski, 1965 Cinematography | Gilbert Taylor

Repulsion Roman Polanski, 1965 Cinematography | Gilbert Taylor

“I believe the look of the picture is inherent in the material. The material will tell you what the picture should look like. Roman [Polanski] took the audience and led them by the nose to a point, then he left it up to you, and let the audience run with their imagination.” — William A. Fraker

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

“Cinema should make you forget you are sitting in a theater.”
Roman Polanski

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Rosemary’s Baby Roman Polanski, 1968 Cinematography | William A. Fraker

“I love my work. It’s a passion because otherwise you can’t do it.” — Benoît Debie

Irreversible Gaspar Noé, 2002 Cinematography | Benoît Debie

“When you see a movie, it’s like you’re attending a show of magic in which the magician pulls a rabbit out of a hat.”
Gaspar Noe

Enter The Void Gaspar Noé, 2009 Cinematography | Benoît Debie

Spring Breakers Harmony Korine, 2012 Cinematography | Benoît Debie

Love Gaspar Noé, 2015 Cinematography | Benoît Debie

“You make the movie through the cinematography – it sounds quite a simple idea, but it was like a huge revelation to me.”
Nicolas Roeg

Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

“I think a cinematographer’s job is to put a director’s vision on the screen. Nic is very clear in his vision and how he wants a movie to look, to feel, to smell.” — Anthony B. Richmond

Don’t Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

“During the minutes or seconds that this fleeting image is on the screen, you have to enable the viewer to see and especially to experience that there is a very rapid emotional shock. So the lighting has to be designed in such a way that its form can pierce through the screen and travel like an arrow into the viewer’s mind.” — Henri Alekan

Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

Wings of Desire Wim Wenders, 1987 Cinematography | Henri Alekan

“The beautiful thing about Robby is that he starts the process by talking to you about what the film means, what the story is about, what the characters are about. He starts from the inside out, which is really, really such a great way.” — Jim Jarmusch

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Down By Law Jim Jarmusch, 1986 Cinematography | Robby Müller

Paris Texas Wim Wenders, 1984 Cinematography | Robby Müller

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Breaking the Waves Lars von Trier, 1996 Cinematography | Robby Müller

” I’ve had glasses since I was six. Back then, I’d wake up in the morning and do things without my glasses on, and I’d be pretty blind. I’m very comfortable getting up close to things. There’s a sense of discovery that comes with that and it’s something I’m really interested in in my work.” — Ashley Connor

Butter on the Latch Josephine Decker, 2013 Cinematography | Ashley Connor

Butter on the Latch Josephine Decker, 2013 Cinematography | Ashley Connor

Thou Wast Mild and Lovely Josephine Decker, 2014 Cinematography | Ashley Connor

Barry Lyndon Stanley Kubrick, 1975 Cinematography | John Alcott

Barry Lyndon Stanley Kubrick, 1975 Cinematography | John Alcott

“Our working relationship is close because we think exactly alike photographically. We really do see eye-to-eye photographically.” — John Alcott

A Clockwork Orange Stanley Kubrick, 1971 Cinematography | John Alcott

“Style is something that’s extremely important, but it must grow naturally out of who and what you are and what the material calls for. It cannot be superimposed.”
William Friedkin

The Exorcist William Friedkin, 1973 Cinematography | Owen Roizman

“The camera lies all the time — lies 24 times/second.”
Brian De Palma

Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

Dressed to Kill Brian De Palma, 1980 Cinematography | Ralf D. Bode

Dressed to Kill
Brian De Palma, 1980
Cinematography | Ralf D. Bode

” It’s very pleasant to hear that because my conception of this job is to be a companion or a collaborator. It’s to complete something. It is also making the image as separate from the directing but to be part of the storytelling process. If you have some distance with the film you are watching, you’ll be just attracted. You’ll be swimming in it. Or enveloped, like music” — Agnes Godard

Beau Travail Claire Denis, 1999 Cinematography | Agnès Godard

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Trouble Every Day Claire Denis, 2001 Cinematography | Agnès Godard

The Intruder Claire Denis, 2004 Cinematography | Agnès Godard

“Photographing Citizen Kane was indeed the most exciting professional adventure of my career.” — Gregg Toland

Citizen Kane Orson Welles, 1941 Cinematography | Gregg Toland

“The enemy of art is the absence of limitations.”
Orson Welles

Citizen Kane Orson Welles, 1941 Cinematography | Gregg Toland

“Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.”
Ingmar Bergman

Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Cinematic images are the things of magic.

Matty Stanfield, 1.6.2016