Ilyenko’s camera is dimensional. I recently praised Eggers’ camera in Nosferatu because of the dimensionality it was able to manipulate and deftly break. But here, Ilyenko navigates spacial dimensionality with even more grace. He did this last movie, too, in Spring. I think (?) he uses mirrors and angle shifts to present different perspectives of the same character within a seemingly single shot.
His images are so striking. There is a stylistic abbrasiveness. The narrative is more abstract and less concerned with immediate cohesion. It makes more room for the ambiguities and eccentricities to shine. I feel like I’m always provoked by what I’m seeing in a stimulating way. Right down to the end, I feel like I’m watching something, rich, beautiful, and textured.
I hope Ilyenko can get more exposure in the future because he is truly a lost master.
Ilyenko’s camera is dimensional. I recently praised Eggers’ camera in Nosferatu because of the dimensionality it was able to manipulate and deftly break. But here, Ilyenko navigates spacial dimensionality with even more grace. He did this last movie, too, in Spring. I think (?) he uses mirrors and angle shifts to present different perspectives of the same character within a seemingly single shot.
His images are so striking. There is a stylistic abbrasiveness. The narrative is more abstract and less concerned with immediate cohesion. It makes more room for the ambiguities and eccentricities to shine. I feel like I’m always provoked by what I’m seeing in a stimulating way. Right down to the end, I feel like I’m watching something, rich, beautiful, and textured.
I hope Ilyenko can get more exposure in the future because he is truly a lost master.
