The Danish Girl
The Danish Girl lacks an immediacy and vibrancy, as well as a genuine sense of emotional connection.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
We tend to remember long takes that call attention to themselves as such: the opening shots of "Touch of Evil" or "The Player"; the entrance to the Copacabana in "GoodFellas"; all those shots in Romanian movies, and pictures directed by Bela Tarr and Jia Zhangke... And then there are the ones you barely notice because your eyes have been guided so effortlessly around the frame, or you've been given the freedom to explore it on your own, or you've simply gotten so involved in the rhythms of the scene, the interplay between the characters, that you didn't notice how long the shot had been going on.
For this compilation, "Deep Focus," I've chosen eight shots I treasure (the last two I regard as among the finest in all of cinema). They're not all strictly "deep focus" shots, but they do emphasize three-dimensionality in their compositions. I've presented them with only minimal identifications so you can simply watch them and see what happens without distraction or interruption. Instead, I've decided to write about them below. Feel free to watch the clips and then re-watch (freeze-frame, rewind, replay) the clips to see what you can see. To say they repay re-viewing is an understatement.