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Wong

He brings both Asian sensibility and French New Wave cinematic techniques to each of his stories. As with Wong’s other films such as  Chungking Express,   Days of Being Wild ,  Happy Together  and  Fallen Angels ,  In the Mood for Love  dictates the arbitrary nature of romance and the notion of the ‘missed moment’. He consistently employs a signature ‘parallelling’ and ‘intersecting’ rhetoric in which his characters arbitrarily cross paths.  Wong’s protagonists are most often revealed to be a set of individuals existing within the visual array of urbanity. Wong successfully grants introspective gazes at his characters (usually in sets of twos), exploring their insecurities, personal motives and ultimately the random nature of relationships. Again, Wong’s arbitrary rhetoric finds expression in the poetic and brightly drenched tones of his unique filmic aesthetic, and his much-loved themes of loneliness, isolation, and longing rise to the sur...
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German Expressionism

German Expressionism Depiction of reality that is widely distorted for emotional effect One of the most popular German expressionism films is  The Cabinet of Mr. Calgary , directed by Robert Wiene who hired Expressionist painters like Walter Reinmann and Hermann Warm to actually paint his sets Conventions Twisted landscapes, insane or evil characters, more morbid plot-lines  External representation of internal emotion – this means that if the main character is in a “dark place” emotionally, then the setting must reflect that  Insanity/Obsession Evil/Insane/Obsessive characters Crime or the criminal underworld Urban settings Jagged lines and banding – often created by painting designs on the set Twisted architecture – such as spiral staircases and ominous arches Chiaroscuro – extreme lighting that incorporates dark shadows and bright patches of light, typically associated with Film Noir Silent – intertitles are used to fill in important dialogue. Howe...
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Social and Production Context of Winter's Bone

https://www.popoptiq.com/interview-john-hawkes-winters-bone/   '... she [Debra Granik ] couldn’t shoot it anywhere else, she couldn’t pretend to be somewhere else but it was a story that was so embedded in a specific area...'    I like how the director was persistent on having it shot in the same location as it is in the novel, as this allows the film to have the truest demonstration of its social structure to show its audiences. It also benefits the film as it means it's loyal to the book; no changes have to be made with the setting so prevention of a changed storyline has likely been avoided. Due to it being accurate, it furthermore warrants positive feedback from the reader portion of the audience carried from the novel.    '...a lot of people weren’t professional actors who were local people in the movie... '    This enforces the idea of keeping it authentic, and means the performance of the characters is as it would be in Mi...
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