God’s Creatures
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Chayse Irvin on Shooting Blonde in Digital Black and White and God’s Creatures in 35mm Color
This week, Netflix’s Blonde and A24’s God’s Creatures head to streaming and theaters, respectively. The digitally-shot Blonde is a highly stylized look at the life of Marilyn Monroe, shifting aspect ratios and alternating between color and monochrome while employing extreme wide angle lenses, body cam mounts, infrared and more to expressionistically convey Monroe’s perspective. God’s Creatures is the antithesis—austere and somber, captured on 35mm, with an observational point of view distanced from the main characters, a mother in a small Irish fishing village whose life crumbles after providing a false alibi for her son. The films do share one thing in common—cinematographer […]
by Matt Mulcahey on Sep 29, 2022 -
“We Often Speak of the Film as a ‘Making-of-a-Ghost’ Story”: Saela Davis and Anna Rose Holmer on God’s Creatures
The brackish waves of the Atlantic are a source of livelihood and peril for the inhabitants of a coastal Irish fishing village in God’s Creatures, the directorial work of Saela Davis and Anna Rose Holmer. Aileen O’Hara (Emily Watson) is the manager of a local fishing plant, tasked with sifting through daily catches of oysters and haddock on a whirring conveyor belt and preparing them for market. She is diligent yet warm, providing a maternal presence for many of her employees, namely young Sarah (Aisling Franciosi, The Nightingale). During an ordinary shift, Aileen and a handful of other employees witness […]
by Natalia Keogan on Sep 29, 2022
