01-26-2012, 09:16 AM
After watching Flowers of Shanghai where all the shots were wide-angle, distant and static, I thought there might be some compensatory relief in watching Salvajes, where most of the shots are close-ups done with a hand-held, with lots of pans, tracking shots, zooms and so forth. But good heavens, jerking a camera back and forth between two people talking, often over-panning, then having to come back to target, and my-oh-my the autofocus is on and readjusting each time. As for the close-ups, we’re talking parts of faces. A bit of that can be nice, but to use it as your “style” for a whole movie?
Also, there’s a difference between shooting a fight scene in tight with a hand-held for that gritty realistic feel and just tossing your camera down a steep slope and using that footage. I suspect the latter approach was used, as I didn’t see a “No cameras were harmed in the making of this movie” notice during the credits. Oh, who am I kidding; I didn’t watch the credits.
An ugly, ugly movie about anti-immigration sentiments (mostly towards blacks) in Spain, though I think the message got totally lost in the despicable characters and camerawork.
If you should somehow come into possession of this DVD, you are advised to quickly toss it down a very steep slope.
Also, there’s a difference between shooting a fight scene in tight with a hand-held for that gritty realistic feel and just tossing your camera down a steep slope and using that footage. I suspect the latter approach was used, as I didn’t see a “No cameras were harmed in the making of this movie” notice during the credits. Oh, who am I kidding; I didn’t watch the credits.
An ugly, ugly movie about anti-immigration sentiments (mostly towards blacks) in Spain, though I think the message got totally lost in the despicable characters and camerawork.
If you should somehow come into possession of this DVD, you are advised to quickly toss it down a very steep slope.
I'm nobody's pony.