To consider the relationship between visual arts and cinema today is to go beyond the representation of artistic gesture and to concentrate on the gesture itself, dealing with the dimensions comprised in a creative gesture: movement, the relationship to time, to history, to the contemporary world, and eternal experimentation… To finally go beyond the concepts that form the foundation of “plastic arts” and fine arts.
When we observe the work of directors of photography and their struggle to translate the aesthetic vision of the director into an aesthetic work where nothing is left to chance, it is clear that the boundary between art and cinema becomes blurry.
Artsper has selected some of the most visually touching films from the past five years.
#1 MOONLIGHT (2017)
To hold one’s breath… During a somewhat vertiginous initiatory journey of a young homosexual black man in a ghetto of Miami, and continue to hold it, when the independent movie wins the Oscar after a confusion with the cards.
Incandescent beauty, ascending rhythm, formal and thematic depth are combine with the relevance of the subject. Ardour reigns in all its perspectives: the ardour of feelings, the ardour of offenses, the ardour of a mother who consumes drugs. A floating halo associated with lyrical inspiration allows us to escape the habitual social determinism, and wipe clean all the stigmas associated to “minorities”. From the darkness emanates unspeakable grace, light is reborn out of ashes… The light of the moon, ”Moonlight”.
#2 LA LA LAND (2016)
Boy meets girl in a romantic and beautiful Los Angeles, full of neon lights and captivating sounds. It’s the LA of everybody’s dreams. From a waltz in the stars to sets reminiscent of Old Hollywood musicals – the film is charming and nostalgic. Its careful attention to colour, with purple sunsets and costumes in bold primary colours, makes the story and melodies all the more enchanting. This modern musical will leave you feeling sentimental and uplifted.
Steven D. Gagnon, Art for the Masses Project San Mateo California, 2001, Offered by Markowicz Fine Art on Artsper
#3 THE GRAND BUDAPEST HOTEL (2014)
Wes Anderson is known for his stylized universes, where each aspect is curated ever so carefully in order to create delightfully entrancing films. The Grand Budapest Hotel is no different; each set features a dominant colour, which more often than not contrasts with the bright purple uniforms of M.Gustave (Ralph Fiennes) and the lobby boy (Tony Revolori) adding to the absurdity of the already whimsical story line. A beautifully rendered cinematic experience which will make you wish you were living in Wes Anderson film.
Nicolas Boutruche, Grand Hôtel, 2016, Offered by Courcelles Art Contemporain on Artsper
#4 LA VIE D’ADÈLE (2013)
The mood of this movie is coloured with a melancholic blue. The numerous allusions to the paintings of Picasso’s blue period allow us to better understand this chromatic choice; the Spanish painter considered this colour as the most suggestive of a melancholic state of mind. The colour immerses the viewer in a melancholy atmosphere. There is of course Emma’s bright hair during their first encounter. The character of Adele is constantly associated to blue: when she is bathing in the sea, idle and dejected, the camera, immersed in the water, shows her body in symbiosis with the aquatic blue.
Lidia Vives, La Chambre Des Malades, 2014, Offered by Fifty Dots on Artsper
#5 THE TREE OF LIFE (2011)
Terrence Malick is a filmmaker known for his dazzling aesthetics and his images charged with strong cinematic ambition. By exploring advanced cinematic techniques with an impressive depth, the movie does not want to incite viewers to concentrate on a particular place, on the contrary, it wants to give them the possibility to linger over the whole field of image.
Tony Ellwood, In No Time #40, 2012, on Artsper
#6 LAURENCE ANYWAYS (2012)
Often criticized for its over-aestheticism, this movie by Xavier Dolan is a meticulous work of image, light, costumes, textures, with an omnipresent soundtrack and oneiric sequences. Many reproach some of the shots in Laurence Anyways for striving for “arty pub” aesthetics, the fact is that the – undoubtedly Kitsch – portrayal, is undeniably beautiful.
Thiery Beyne, Back – 30, 2016, Offered by 2ArtAngels on Artsper
#7 HER (2013)
In the movie Her by Spike Jonze, red is a cold colour. In the film, the colour speaks for itself. From tulip red, raspberry red, orange red, pomegranate red and amaranth pink, Her has more variations of red than we can image. Trying to discard an aseptic and empty vision of the future, the movie repaints everything in red, from shirts and furniture to the smartphone Theodore Twombly uses to communicate with his lover 2.0.
Alain Nahum, Figuren, 2014, Offered by Gallery Marie VITOUX on Artsper
#8 FRANCES HA (2012)
In this movie, Noah Baumbach shows us his aesthetic side, which coincides with the chromatic choice of several urban photographers. “I chose black and white to highlight the feeling of renewal: filming it this way allowed me to see the city through different eyes, to fall in love with it once again. I wanted the movie to be joyful, romantic, and generous like the character of Frances Ha. This was the purpose of doing it in black and white, since it makes things beautiful and it gives them rhythm”.
Boom Art, Mathieu Cesar Limited Skateboard Ziporra, 2014, Offered by boom-art on Artsper
#9 GRAVITY (2013)
Describing the journey of two survivors of a devastating accident in the middle of space, the movie draws you in with its visual beauty, which is shocking at the same time. The image, the performance, the weightlessness, make of Gravity one of the few movies where the viewer is almost in the same position as those he is watching on the screen.