Despite favorable reviews about Beltrán's acting play (Dávalos Orozco and Bernal 1985, 128) and Stahl's cinematography that captured anonymous "people, agglomerated in the corners, with anxious curiosity, seeing a camera filming in front of them" (Peimbert 1928, n. pag)., Beltrán Rendón never returned to the cinema.
There are a few redeeming touches: the fashion, the cinematography that manages to capture the energy of the city, the girls' quick quips.
With brilliant performances and jaw-dropping cinematography, Galore is a film that captures the thrilling highs and lows of teenage years, as a wall of fire edges threateningly closer.
The cinematography of The Summit is spectacular, with stunning aerial footage that captures the hypnotizing mix of awe, fear, danger, and mystery K2 evokes that drives so many climbers to take the ultimate risk.
The film is a classic Hammer production, displaying the hallmark of the studio's approach to horror films: rich production design and impressive cinematography that belie the relatively low budget of the production, and a liberal amount of gore and sexual titillation to capture the attention of viewer and censor alike.
Brolin also delivers a strong performance, as does Griffith, who showed his acting chops have only grown since he appeared in Clint Eastwood's "Changeling". Still, it's the film's cinematography by Eric Steelberg that captures your gaze with its dusty, almost dream-like quality.
Though "Viva's" audience-friendly story of a young man needing to fulfill himself and find common ground with a fiercely obdurate father is familiar, several factors combine to make this tale play considerably realer than it sounds, starting with naturalistic cinematography by Cathal Watters that captures the vivid street life of Cuba's capital.
It looks terrific, thanks to Robert Elswit's cinematography, which captures the dust of New Mexico and the damp of Oregon.
These sequences also serve as a showcase for the film's strong cinematography, which captures the mountains, forests, and rivers around the camps as if composing an elegy.
Shaheen Seth's panoramic cinematography deftly captures his wobbly world, where every little thing you think is, isn't.
