This adaptation of the acclaimed novel uses subjective camerawork in a whole new way.
A cinephile goes to the theater hundreds of times in the hopes of eventually seeing one film with the innovation and the intensity of emotion of
It’s the sort of experience that justifies my increasingly stupid decision to dedicate my life to the movies. This film grabs you and shakes you out of your doldrums with something new, something bold, something with a point of view — or, in the case of made the daring decision to shoot almost all of his adaptation of Colson Whitehead’s Pulitzer Prize-winning novel through point-of-view shots from the perspective of its two central characters.
From there, Ross jumps between events in numerous time periods, and blends them with authentic archival photography and footage of Black life in the 1960s South andthat served as Whitehead’s initial inspiration. All of it, when combined with those extended point-of-view shots, convey a sense of what life was like for Nickel Academy’s survivors before, during, and after their time there.Ross isn’t the first filmmaker to attempt to tell a cinematic story from a first-person perspective.
Then Ross built to an ending that’s not only emotionally devastating and utterly shocking , it retroactively explains and justifies all of Ross’ stylistic choices; not just in terms of imagery, but also his striking uses of music, sound design, and montage editing. By ’ bravura crescendo, you truly feel like you’ve seen the world in a new way. And maybe seeing movies in a new way too.
-Dissertations will surely be written about the camerawork in this movie, not just for its POV but for its choices of specific angles, particularly its repeated motif of images looking directly up at the sky, or, in, up to a mirrored ceiling reflecting the two protagonists back at themselves. If the Academy does not nominate Jomo Fray for Best Cinematography this year, that will be one of the most egregious oversights in recent Oscar history.
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