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This is a spectacular and gorgeously created film, with allusions to Harold Lloyd and Fritz Lang, and it's an almost overwhelming assault on the senses from the very first shot: a vision of post-first-world-war Paris which sees the city as one gigantic clockwork contrivance.
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When James Gray shoots on film, he fulfills a vision of tragic loss; his subject is the irreparable, and the decisive finality of the film image is its incarnation.
In the public mind the term "meteor shower" conjures up a vision of shooting stars streaming through the heavens like rain.
The filmmakers spent several months shooting on location in Havana, and their care produces a vision of the place that is both lyrical and realistic.
He shows us an answer in "Alphaville" (1965), a vision of the future which was actually shot in contemporary Paris.
Once in the studio, Liz shot the blotter paper against different scenes: a depressing office, a vision of paradise, clear blue skies, and a trippy fog.
I shot a lot of joiners.
Al has shot a lot of food.
Still, does Carson truly have a vision of Jewish families having shoot-outs with massed Nazi forces?
In this latest work from the author of "Reasons to Be Pretty," a vision of God is vouchsafed to one John Smith amid the carnage of a workplace shooting.
A vision of hell..
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com