Author: Michael Qualischefski

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Past Lives: The Heart-Breaking Tale of…What If?

Introduction:

For what feels like an eternity now, I’ve wanted desperately to write about the latest A24 feature, ‘Past Lives’, and its subtle brilliances in terms of cinematic storytelling, cinematography, directing, etc.

But, every time I started to write this article, I felt this underlying dread creep within my soul. A solemn dread reminding me that in order to fully analyze and communicate why I believe this film is so impactful. I would first have to re-watch ‘Past Lives’.

Celine Song. Director of Past Lives

And no, it’s not because I found the film boring or dull or bland. The reason why I feared rewatching ‘Past Lives’ was due to the fact that I believe the film is without a doubt, the most tragic and heartbreaking piece of cinema I’ve ever witnessed. The simple concepts of regret, love, bitter-sweet nostalgia, moving on and In-Yun that seem to permeate throughout Celine Song’s directorial debut. Seamlessly blending together into a romantic drama that feels both heart-wrenching to watch, yet, unabashedly easy to relate to.

Celine Song’s first feature film is one that sits with you long after you leave the cinema. It is a true masterclass of storytelling that, unfortunately, has flown under the radar for a lot of cinema-goers, who had been spoiled by the stacked slate of films released in 2023.

And, with ‘Past Lives’ only grossing $14.6 million at the Global Box Office against its $12 million budget, it’s clear that the film unfortunately did not reach the mass audience it deserved to.

However, by analyzing and dissecting Celine Song’s tragic triumph through its story, its visuals and, its themes. I wish to unpack and uncover what elements makes ‘Past Lives’ stand out when compared to other films that released alongside the latest A24 masterpiece.

This is what makes ‘Past Lives’ a Heart Breaking Tale of…What If?

1. The Pain That Comes from…What If?

Written and directed by Celine Song herself. The story of ‘Past Lives’ serves as an almost auto-biographical rendition of Celine Song’s life. Drawing upon her own experiences as a South Korean who immigrated to Canada, Celine Song uses her own life to create the storyline and characters that ‘Past Lives’ revolve around.

The story of ‘Past Lives’ shows the fractured relationship of two South Koreans, Na Young, (portrayed by actress Greta Lee) and Hae Sung, (portrayed by actor Teo Yoo).

‘Past Lives’ narrative deals with how sometimes a love between two people is never meant to be, and the pains that come with moving on in life…even if you’re not ready to.

Na Young / Nora Moon (Portrayed by Greta Lee)
Hae Sung (Portrayed by Teo Yoo)

Editorial Note:

I will be summarizing the plot of Past Lives in the following paragraphs. If you wish to experience the film yourself, (which I highly recommend) or wish to simply read the analytical elements. Then please skip the following paragraphs.

We, the audience, watch as the seeds of Na Young and Hae Sung’s relationship are sown early together from a young age, with the two living together as friends in Seoul, South Korea. However, when Na Young is forced to suddenly immigrate to Canada and subsequently change her name to Nora Moon, the two close friends lose contact with one another for several years.

It isn’t until twelve years later when Na Young and Hae Sung would reconnect over Skype. With Na Young (now Nora Moon), having immigrated a second time to New York City, from Canada.

We watch as Hae Sung and Nora begin to cling to each other as the two rekindle their lost relationship, with Nora even wanting to return to South Korea to see Hae Sung in person again.

However, Nora decides not to go through with her plan to visit Hae Sung in Korea and ultimately, focus on her own goals which require her to stay in New York City. Nora decides not to use her past as a crutch, but instead, to attack her future with no baring on the life she used to live. Nora also makes the difficult decision to cut ties with Hae Sung for a second time. A selfless act to hopefully allow both Hae Sung and herself to move on with their lives separately.

Following another twelve-year time jump. We see how Nora has grown from her last interaction with Hae Sung. She has continued with her goal of making a name for herself in New York, she is an up-incoming play writer living in Queens with her husband, Arthur. An author who Nora met during a artist in residents excursion. 

Arthur and Nora live happily together in New York City. However, when Hae Sung is invited by Nora to see her again in America, the now mature Hae Sung will travel from Korea to America to finally reunite with Nora in person after spending two decades apart.

Now, Nora, Hae Sung and Arthur will discuss the needs, wants and desires that each central character of Past Live’s yearns for.

Past Lives carries itself with a level of maturity and restraint that isn’t typically seen in a lot of directorial debuts. Each character within the story expresses emotions and reactions that feel genuinely authentic within the narrative.

Considering that many may find themselves relating to the struggles of either Nora, Hae Sung or Arthur, the film serves not to dramatize or exaggerate the natural tension that comes with ‘Past Lives’ narrative.

Celine Song isn’t afraid to both build up and break down the wants, needs and desires of her main characters. This willingness by the director to have her protagonists simply just discuss what could’ve been reflects the level of maturity ‘Past Lives’ narrative has when it comes with dealing with inner-personal relationships.

2. Nostalgia Through The Lens.

In order for ‘Past Lives’ to communicate its themes of nostalgia, growing up, and letting go through the visual storytelling medium. ‘Past Lives’ Director of Photography, Shabier Kirchner, employed a range of mise en scene elements that complement the films cinematography in order to have ‘Past Lives’ feel uniquely timeless.

In order to achieve this timeless feeling and effect, DOP Shabir Kirchner’s decided to film ‘Past Lives’ with Kodak 35mm film stock. (Film stock similar to everyday disposable cameras available to the public).

Shabir used Kodak 35MM Film Stock as to imbue its audience with a sense of nostalgia. The certain feeling one may get after looking at a nostalgic photo captured on a disposable camera. The film’s lack of camera movement mirrors the idea of making the film feel like a nostalgic photograph.

“My lens choices really came from conversations that Celine and I had about camera movement, or the considerable lack of movement, as many scenes play out with a static camera or imperceptible moves.”

Shabir Kirchner

The idea of having ‘Past Lives’ feel like a moving polaroid memory ties perfectly into the film’s many themes, chief among them being nostalgia and the bittersweet questions of…what-if? As if the audience was watching the film through their own bittersweet nostalgia or memories.

In each frame that Nora and Hae Sung share within the film, the two main characters are always divided/separated from each other, even in the films many tight close-ups. This physical divide symbolically represents Nora and Hae Sung’s inability to be together due to external factors in their lives.

Each shot of Nora and Hae Sung together on screen feels worryingly intimate, as if at any sudden moment, the two may give in to their long dormant feelings for each other. However, thankfully the film’s restraint puts those anxious thoughts to rest. Instead, ‘Past Lives’ visually showcases the divide between our main trio through both character blocking and framing.

In addition to this, the colour work in Past Lives allows the film to communicate its themes of bittersweet nostalgia to its audience on a subconscious level. While on initial viewing, it would seem that very little colour work was implemented on the Kodak 35MM footage, with the sizeable concrete jungles that are both New York City and Seoul constantly swallowing the film’s colour palate in harsh concrete greys and blacks.

However, subtle colour hints of pink’s and orange’s ,(colours often synonymous with the feeling of nostalgia), begin to leak through the concrete grey skyscrapers of Seoul and New York City. The literal rose-tinted colors of the film serve to bring warmth and nostalgia to the frame, further pushing the subconscious narrative that both Shabir Kirchner and Celine Song wish to impart to ‘Past Lives’ audience, making the film feel like a moving polaroid photo, trapped in a simpler, more nostalgic, easier time.

My Favorite Shots of Past Lives.

3. In-Yun

There is a certain Korean phrase that permeates deeply throughout Past Lives’ narrative, In-Yun.

As described in Catrina Prager’s article on the topic;

In-Yun is the belief that the interactions between two people in this life are owed to interactions (or near-interactions) in their past lives. The concept suggests that some encounters are not, as we might at first assume, accidental, but rather a cosmic tug on our sleeve. The Universe saying here, this human’s important in your journey.

Catrina Prager – Medium

We the audience, see how Celine Song intertwines this ancient Korean concept with Hae Sung and Na Young’s relationship and character journey’s throughout ‘Past Lives’.

At the beginning of the film, it’s heavily implied by Celine Song that Na Young and Hae Sung are destined to be together in cinematic language, (hence the close up shots and long, quiet pauses between our two main characters whenever they interact).

However, even with the two splitting apart from each other and starting new lives separately in other countries. Both Hae Sung and Nora use the memories of their young connection to keep themselves grounded in reality.

So, when Hae Sung finally gets to meet with Na Young (now Nora Strong) in New York City, far away from Korea and two decades after they first parted ways. Both Nora and Hae Sung are both once again confronted with In-Yun, now manifested as the reconnected relationship between the two main characters.

While the two had physically grown apart, Hae Sung and Nora’s spiritual connection with each other continues to bring the two main characters together, meeting again and again. Yet, the two constantly try moving on from their young and brash relationship, with the two focusing on things that have become more important then a lost relationship.

Yet, it’s Hae Sung and Na Young’s past life together in Seoul that compels and binds the two almost soulmates to reconnect and understand what could’ve been if certain things had changed in their lives.

“If you had never left Seoul…would I still have looked for you? Would we have dated? Broken Up? Gotten Married? Would we have had kids together?”

Hae Sung to Nora during their conversation together.

From the fallout of Na Young and Hae Sung’s undeveloped relationship comes the emotional baggage and accompanying pain of what could of been, commonly associated with grief or loss.

The death of a relationship that should’ve been in this life, but was instead destined for another.

In-Yun in the context of Past Lives refers to the nature of Hae Sung and Na Young’s relationship. The fact the two could have been soul mates in this lifetime, yet, In-Yun dictates that they could instead be together in the next life, or the life after that. But not this one.

Conclusion:

Celine Song’s directorial debut is a heart-breaking masterclass of cinema that blends complex themes with beautiful cinematography, nostalgic colors and engaging dialogue.

The manner in which Past Lives conveys it’s themes of In-Yun, bittersweet nostalgia and growing up is handled with a level of maturity and subtly that is severely lacking in modern cinema in general, let alone a directorial debut.

Furthermore, by pairing Celine Song’s storytelling ability with Shabir Kirchner’s crafty, nostalgic cinematography that makes ‘Past Lives’ feel more akin to a moving polaroid picture. It’s no surprise that A24’s latest masterpiece has received Oscar nominations for both Best Picture and Best Original Screenplay.

Past Lives is a film that sits with audiences long after they exit the theatre, its inability to pull any emotional punches and ability to connect / relate to everyone’s desire for love on a emotional level is why, Past Lives is a heart-breaking tale of…what if?

Written, Curated and Edited by Michael Qualischefski.

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Dune: The Original Sci-Fi Epic.

Introduction:

For as long as I can remember, Science Fiction has been one of my favourite genres as a filmmaker and storyteller. Consistent rewatches of films like Star Wars, Alien and Blade Runner have never failed to transport me to galactic worlds and alien stars I couldn’t imagine on my own.

So I’ll admit, before the announcement that Denis Villeneuve would direct a film adaptation of Frank Herbert’s 1965 Sci-Fi Epic, Dune, I had no prior knowledge of the source material or legacy that the Dune saga had paved through pop culture during its history.

However, after viewing Villeneuve’s film adaptation of Frank Herbert’s classic, I found myself tumbling down the Dune rabbit hole.

Upon researching and studying every book, short story, and journal penned by the late author, it became clear to me that the lasting legacy of the Dune saga has greatly influenced the modern genre of Science Fiction as we know it today, both through page and screen. Leaving behind an eternal legacy that transcends culture, language, and influence.

Gurney Halleck (Josh Brolin), Paul Atreides (Timothée Chalamet) and Sir Duke Leto Atreides (Oscar Isaac)

In this retrospective and analytical article, I wish to unpack what truly makes Dune so influential for both storytellers and audiences alike. By reviewing and scrutinising the written work of Frank Herbert’s Dune Saga, as well as the film adaptation directed by Denis Villeneuve (2021, 2023), only then can the full franchise’s impact be fully realized.

By the end of this paper, my goal is to truly showcase just how important and influential the Dune franchise has had on both filmmakers and storytellers alike.

Hopefully, this article will inspire others to delve deep into the Dune mythology itself and learn more about this universe before Villeneuve’s Dune Part 2 is released later this year.

Editor’s Note: I am only taking Dune books penned by Frank Herbert into consideration when discussing the cultural impact of the Dune Series. Any Dune books penned after Frank’s death, (1986), will not be taken into consideration.

Frank Herbert’s Dune Saga:

Dune’s First Publication Cover (1965).

“I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration.”

Paul Atreides

Before Dune’s first publication in 1965, Science Fiction literature was often depicted in short, self-contained, single-print narratives. Novels akin to George Orwell’s 1984 (1948), and Mary Shelley’s Frankenstein (1818) were seen as the pinnacle of Science Fiction literature. However, there had been little to no attempt in novel writing to create a wide-spreading Sci-Fi universe with its own living ecosystem, society and, politics which evolves and adapts with its characters over time and with each subsequent novel.

However, with the publication of Frank Herbert’s Dune in 1965, this apparent gap in the sci-fi market had seemingly become filled. The original Dune novel is an extremely dense and rich, space soap opera, filled to the brim with warring houses, self-fulfilling prophecies, prophets, space witchcraft and, giant alien sand worms, all set on the desert planet of Arrakis, the most important planet in the Dune universe.

Paul Arteides / Muad’ Dib (Protagonist of Dune)

Pulling influence from both Middle-Eastern and Islamic settings, culture and ideology, the Dune saga primarily follows the journey of hero, Paul Arteides who gallantly defends the ownership of the desert planet, Arrakis against the archenemy Baron Harkonnen.

Dune (1965), follows Paul as he grows from a young man bestowed with great potential. Along his journey of self-discovery, Paul will learn what he was truly born to be, why his destiny lies in the Arrakis sands and, how to finally defeat the Baron Harkonnen.

Along Paul’s heroic journey, he will also be prophesied by the Bene Gesserit Sisterhood (Future Seeing Space Witches) to become The Kwisatz Haderach (The Chosen One). Paul is unknowingly sent down a path that will alter and change the course of the Dune universe for centuries.

Dune tells a story about what it truly means to become a messiah and why it’s so hard to be a leader.

Baron Harkonnen (Antagonist of the first Dune book)

Widely considered to be the book that propelled the Sci-Fi genre into the mainstream, the original Dune publication along with its subsequent sequels, (Dune Messiah, Children of Dune, God Emperor of Dune, Heretics of Dune and, Chapterhouse Dune), were all revered by both critics and audiences alike, providing a successful blueprint on how to create a compelling and fascinating Sci-Fi story.

The Kwisatz Haderach (The Chosen One and Paul’s destiny)

Frank Herbet’s writing influence can also be seen in many books and films that subsequently came out after the Dune saga conclude, films such as Star Wars (George Lucas), 2001: A Space Odyssey (Stanley Kubrick) and, Contact (Robert Zemeckis) all share similar elements that call back to Frank Herbert’s original work.

However, despite the Dune saga’s ability to captivate its audience and its capability to provide the groundwork on how to craft a compelling Sci-Fi story for the next generation of filmmakers and storytellers. Dune itself wasn’t as lucky when it came to the transition from book to film.

Dennis Villeneuve’s 2021 Dune:

“The willow submits to the wind and prospers until one day it is many willows—a wall against the wind. This is the willow’s purpose.” 

Reverend Mother Gaius Helen Mohaim

Prior to Denis Villeneuve’s Dune adaptation, there had been several attempts within Hollywood to convert Brian Herbert’s magnum opus to the silver screen, all of which produced less than stellar results.

Paul Atreides (Timothée Chalamet) & Reverend Mother Gaius Helen Mohaim (Charlotte Rampling)
“A longstanding dream of mine is to adapt Dune, but it’s a long process to get the rights, and I don’t think I will succeed”.
– Denis Villenuve (2016)

Films like David Lynch’s Dune (1984), John Harrison’s Dune miniseries (2000) and, Alejandro Jodorowsky cancelled Dune project all failed to properly adapt and live up to the ingenuity of the original Dune book saga. This consistent inability to adapt Dune to the big screen caused many within the film industry to believe that Dune was unfilmable and too difficult to adapt.

Sir Duke Leto Atreides (Oscar Isaac) & Duncan Idaho (Jason Mamoa)

Enter Denis Villeneuve, coming off the critically acclaimed Blade Runner 2049 (2017), Denis Villeneuve proved he could handle large Sci-Fi projects that rely heavily on subtext and layered storytelling. Plus with Villeneuve eager to adapt Dune himself, it made perfect sense for Warner Brothers to put Denis Villeneuve at the helm.

Thus, after entering production in 2018 and having its release date pushed back several times due to the COVID-19 pandemic. Dune: Part 1 was released to the public on October 22nd, 2021 to widespread acclaim. Renowned for Villeneuve’s direction, its cinematography/visuals and its adaption of Frank Herbert’s original vision for the Dune universe.

Lady Jessica (Rebecca Ferguson) & Paul Atreides (Timothée Chalamet)

To ensure that this adaptation of Dune’s narrative flowed smoother than previous attempts, Denis Villeneuve and co-writers, Jon Spaihts and Eric Roth, opted to split the book’s story into two parts, allowing for the 155-minute story to breathe and delve deeper into the political and messiah themes that form the story backbone of Dune’s narrative.

Paul Atreides learning about Arrakis, the Fremen, and its Spice Harvesting.

This film covers the first half of Paul’s story, showcasing his struggles with the concept of leadership, his fears about becoming the Kwitsatz Haderach and the transition from a boy to a leader. This setup of Paul’s character, however, feels natural and fluent thanks to Timothée Chalamet’s stellar performance and Villenuve’s direction.

Director Dennis Villenuve, Timothée Chalamet and, DOP Greg Fraser on the Caladan Set.

Dune: Part 1 also marks Denis Villeneuve’s first collaboration with Australian Cinematographer, Greig Fraser. Notable for his work on both The Batman (2022) and Rogue One (2016), Greig Fraser’s expertise with a camera is on full display in this feature. Each frame of Dune: Part 1 feels like a painted portrait, with character, composition and craftsmanship oozing from each shot.

House Ateries arrival on Planet Arrakis.

From the harsh yellows and oranges that radiate off the Arrakis sand dunes, to the calm blues and greens of planet Caladan. Both colour and set design play vital roles in Fraser’s cinematography, these elements are used to properly cement the audience into the Dune universe and establish just how different this world is from our own.

Planet Caladan
Planet Arrakis

Greg Fraser would go on to win Best Cinematography at the Academy Awards for his work on Dune. Dune would also sweep the Oscars in the technical department, winning Best Visual Effects, Production Design, Costume Design and, Makeup / Hairstyling—a true testament to Dune’s production team.

Paul sees his future after accidentally coming in contact with the spice.
The Sardaukar (The Emperor’s Guard)

Overall, Dune: Part 1 serves as the beginning of something special. Not only does it stand as a technical masterpiece that balances both Denis Villeneuve’s dense storytelling and Greg Fraser’s gorgeous cinematography. Dune: Part 1 also finally breaks the long-standing notion that Frank Herbert’s work is impossible to transition from page to screen successfully.

Dune: Part 1 firmly pulls Frank Herbert’s classic Sci-Fi story into the 21st century and finally gives filmatic justice to what many consider to be the original Sci-Fi Epic.

Dune’s Legacy on Storytelling and Filmmaking:

The Hero’s Journey, a story guideline on how main characters should grow throughout their story.

“Dreams make good stories, but everything important happens when we’re awake”

Duncan Idaho

Ever since Dune’s first publication in 1965, Frank Herbert’s work has seemingly influenced many stories that subsequently released after the Dune saga had concluded.

Sci-Fi films such as George Lucas’s ‘Star Wars’ (1977), Ridley Scott’s Alien (1979) & Blade Runner (1982) and, the Wachowski’s Matrix (1999), all seemingly take inspiration and elements from the Dune universe and rework them to become each director own.

Arrakis (Paul Atreides’s New Homeworld)
Tatooine (Luke Skywalker’s Homeworld)

Luke Skywalker and Paul Atreides share similar Sci-Fi heroic journeys, being destined to bring stability to a galaxy needing saving from an evil dictator (Star Wars’ Empire and Dune’s House Harkonnen).

Heroes like Neo from ‘The Matrix’ and Case from the ‘Neuromancer’ series also follow this Sci-Fi heroes journey that was popularised by Frank Herbert’s Dune publication in 1965. Characters that are pulled out of their normal lives to explore their world and better the universe they live in.

Conclusion

“Before The Matrix, before Star Wars, before Ender’s Game and Neuromancer, there was Dune – the great science fiction novel ever written.”

First Paragraph of Dune’s 50th anniversary blurb.

Frank Herbert’s Dune Saga has done so much to popularise and solidify Science Fiction as a staple in the cultural zeitgeist. Dune proved to both creatives and critics that Sci-Fi stories can be compelling and engaging while also having stakes that are bigger and more complex than ever thought before 1965.

And while Dune for the longest time failed to receive the recognition it deserved for its major influence on modern Sci-Fi. Dune’s recent film resurgence and success, led by Denis Villeneuve, has helped revitalise the series and helped Frank Herbert’s original work finally receive the praise it has long deserved.

Dune is Science Fiction’s original epic and still stands as one of the genre’s best even 50 years after its inception.

Written and Curated by Michael Qualischefski.

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The Batman is the New Gold Standard of Filmmaking.

A New Batman for a New Generation:

The Batman is a film that I had on my watchlist for a very long time. Ever since The Batman’s initial test footage released back in 2020, I knew that director Matt Reeves and DC were crafting something special within the Batman mythos, something dark, violent and gritty.

The Batman’s trailers promised that the film would be something completely different and would bring something new to Batman’s cinematic identity, an identify that had been in filmic turmoil ever since the cinematic debacle known as 2017’s Justice League. The Batman also promised to take the superhero genre as a whole to new heights.

And after an excruciating 2-year wait and audience’s beginning to show superhero fatigue, The Batman would officially release to cinemas worldwide on March 4, 2022.

The Batman would not only open with widespread critical acclaim across the filmmaking world, but it would also provide a breath of fresh air to the superhero genre as a whole.

The Batman in my opinion is the perfect mixture of grit, action, noir, mystery, and thriller all tied together in a 2-hour and 50-minute package which is endlessly entertaining, engaging and thought-provoking.

Matt Reeve’s, The Batman, is a visceral, cinematic masterpiece, which has set the new gold standard for superhero filmmaking. The Batman is a film that not only breaks the mould when it comes to how we interpret/discuss modern superhero cinema but also, how much a film can invest its audience within it’s story, emotion and presented world.

A More Abrasive Batman Story:

“When that light hits the sky…it’s not just a call. It’s a warning…to them”

Taking cues from David Fincher’s ‘Zodiac’ and Roman Polanski’s ‘Chinatown’. The Batman isn’t your typical superhero story that relies on flashy action, characters, and jokey dialogue. Instead, The Batman takes a more methodical approach to the superhero genre.

The film takes its time to delve deep into each character’s thoughts and motives. Each element of The Batman’s narrative feels fully fleshed out and developed from introduction to conclusion, leaving the audience overall satisfied with the product.

The Batman’s narrative begins two years into Bruce Wayne’s career as Batman, stalking the decrepit streets and rat-infested alleyways of Gotham City which has been overrun with crime, gang violence and murder due to crime bosses like Carmine Falcone and Salvatore Maroni.

Matt Reeve’s incarnation of Bruce Wayne (as portrayed by Robert Patterson) is shown to be still traumatised by the murder of his parents. In the two years, Bruce has been patrolling the streets of Gotham, he has become consumed by rage, obsessed with becoming the embodiment of fear within the criminals of Gotham.

This obsession has caused Bruce to become a recluse, pushing away his only family, Alfred (portrayed by Andy Serkis) and distancing himself from his distinguished Wayne family name in order to allow his true self, The Batman, to fully become the personification of vengeance and finally uproot the criminal underbelly of Gotham City. The same criminal underbelly that took Bruce’s parents away from him.

It is clear that in Matt Reeve’s interpretation of the character, Batman isn’t the alter-ego of Bruce Wayne, but instead, Bruce Wayne is the alter-ego of The Batman. Bruce Wayne in the film, only serves as camouflage, a tool in Batman’s wide arsenal in order access information that The Batman typically wouldn’t be able to attain.

Meanwhile, the Batman is seen as a mythologic entity within the eyes of both criminals and citizens of Gotham, a ruthless, one-man army fighting against terror and striking fear into anyone who comes face to face with the mythical creature of the night.

Pattinson Pitched Bruce Wayne in PJs in The Batman Costume Meeting

During the opening of the film, it is revealed that Bruce has also created an unlikely alliance with GCPD Lieutenant James Gordon (portrayed by Jeffrey Wright). An alliance formed not only on mutual respect but also, formed over the desperation and the hope of finally driving the corruption out of Gotham, one broken limb at a time.

While investigating the mysterious murder of several high-ranking Gotham officials, the Batman and Lieutenant Gordon would begin to uncover several cryptic letters addressed; “TO THE BATMAN”.

The originator of these letters would be revealed as the cold, calculating, Zodiac-like killer, The Riddler (portrayed by Paul Dano). This discovery would unknowingly swallow Bruce Wayne whole, throwing him down a spiral of criminal conspiracy, family corruption, high-level murder, and uncovering the true actual effect that The Batman is having on Gotham City.

Along Bruce’s chase for The Riddler, he would also cross paths with the likes of Zoe Kravitz’s Catwoman, Collin Farrell’s Penguin and, John Turturro’s Carmine Falcone. Each one of these characters serving a crucial part in the wider conflict between The Batman and Riddler, whether they wanted to or not.

The story that Matt Reeves and Peter Craig presents to the audience is one that pulls no punches. Every character, subplot and action within the film is given plenty of time to flourish under the film’s almost three-hour runtime, and every single element that Matt Reeves and Peter Craig place within the narrative of The Batman serves its purpose.

The film is endlessly engaging and its dark noir-thriller take on the superhero genre is something that audiences haven’t seen since Batman’s previous solo outing; The Dark Knight Rises (2012), 10 years ago.

The story is so meticulously crafted that every element within the film has weight and only serves to add emotion to the film’s narrative.

The Batman’s Cinematography and Atmosphere:

The Batman’s cinematography and atmosphere accentuates the dark and gritty world which is presented to the audience. Cinematographer, Greig Fraser, who is notable for his work on Foxcatcher (2014), Last Ride (2009) and Dune Part 1 (2021), uses both camera and lighting to create a visual feast for the eyes, that harkens back to the noir films of the ’40s and ’50s.

Every shot in The Batman feels dark and cold because Fraser utilises heavy amounts of shadow and contrast. This consistent shadow mixed with the desaturated blue rain, the orange hew of Gotham city and the ever-present darkness that creeps its way into every shot, combines together to create a visual symphony that allows the film to look just that bit more grimy and akin to films produced by Alfred Hitchcock.

Greig Fraser’s cinematography shines brightly throughout The Batman, each frame bleeds character and uniqueness. Greig Fraser’s use of the ARRI ALFA anamorphic lenses creates a focal point in the centre of each frame. This choice of lens also created a severe falloff of resolution with the edges of the frame. This creates the effect that the audience is watching the film layout through a fish eye lens and gives The Batman a truly unique look.

The Batman is a masterclass in both cinematography and atmosphere, Greig Fraser’s use of Mise En Scene, lighting and ARRI ALFA anamorphic lense creates a visually stunning and unique piece of cinema with has the potential to inspire a new generation of cinematographers for years to come.

Not Your Typical Superhero Film:

The Batman feels unique when viewed in the same light as other superhero films that have been released in 2022. While the recent slate has begun to feel similar and generally formulaic over the last couple of years, The Batman differentiates itself from the norm of flashy action and jokey dialogue.

Instead of presenting The Batman as an MCU copycat (which has been the trend for most superhero films of recently), Director Matt Reeve’s instead opted to present a story that is more akin to the pulp noir films that dominated the box office almost a century ago. Instead of a fun, light-hearted, family-friendly superhero film that is appropriate for all ages, The Batman instead replaces everything audiences have come to expect from a superhero film with grit, grime and mature themes.

The Batman is through and through a slow-burn detective story that prioritizes’ s characters and story, over flashy CGI fights and comic relief. The film is cold, dark and violent, its characters are mature and given time to breathe over the film’s 2 hours and 50-minute run time. The film’s action is brutal and given weight by the character’s established beliefs and values clashing against one another.

The Batman feels like the breath of fresh air that the superhero genre needed after Avengers: Endgame. The film feels fresh and brings a lot to the table in terms of storytelling, character exploration and, how to tell a new, intriguing story with old, iconic characters that have been around for generations.

Conclusion:

The Batman has raised the stakes when it comes to creating a compelling superhero drama. Matt Reeve and the entire production team have shown that innovation within the superhero genre is still possible and that not every superhero film has to follow in the footsteps of the MCU.

The Batman exceeds in telling an interwoven, complex story with characters audiences are already familiar with.

Greig Fraser’s use of the ARRI ALFA anamorphic lenses is a serious game changer in the realm of cinematography, the unorthodox use of these lenses grounds The Batman’s story in realism and creates an effect that general moviegoers have never seen before.

The Batman is one of the greatest films that I have ever seen, and I truly believe that this film has reinvented what moviegoers should consider to be quality superhero films. Not a flashy, high-budget mess of CGI and comedy, but, a meticulously crafted narrative that engages the audience not just through its story and characters, but also through its cinematography, world-building and use of Mise-En-Scene.

That’s what sets The Batman apart from the rest, that is what The Batman is the New Gold Standard of Filmmaking.

By Michael Qualischefski.

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Why Blade Runner 2049 is the Greatest Sequel you have NEVER seen before.

A follow-up to Ridley Scott’s Blade Runner was always a point of discussion and contention within the sci-fi community during the late 80s and 90s. With people wondering what happened to characters like Deckard and Rachael after the final credits rolled? How would Ridley Scott add to the Blade Runner continuity with a sequel? And, whether or not it was necessary at all to make a sequel to the cult classic?

And while the narrative did continue within the novelization version of Blade Runner, penned by K. W. Jeter (which ran for 4 books), a definitive cinematic sequel to Blade Runner would remain in development hell for decades to follow.

It wouldn’t be until director Dennis Villeneuve, notable for his work on Sicario (2014), Arrival (2015) and Dune Part 1 (2021), would enter the project. After a few more years in development, a sequel to Blade Runner, titled Blade Runner 2049 would be released to the public in 2017.

Despite its critical reception from both audiences and critics alike being extremely positive, the film was considered by Warner Bros as a box office failure, only raking in $259.3 million at the box office on a $185 million budget.

However, despite Blade Runner 2049 not being a financial hit. Many filmmakers, including myself, consider the film to be one of the greatest sequels of all time, not only due to its thought-provoking plot, immersive themes and its masterclass in cinematography and visual storytelling. but also, through the film’s respect and consideration of the 1982 original film’s themes and message of; Do Androids Dream of Electric Sheep?

This is why many filmmakers consider Blade Runner 2049 to be one of the greatest sequels general moviegoers have never seen before, and here’s why.

Blade Runner 2049’s Plot

The plot of Blade Runner 2049 takes place 30 years after the original. Here, the audience is introduced to K (played by Ryan Gosling). K is a Blade Runner for the LAPD, acting as judge, jury, and executioner for replicants who need to be “retired”. It’s revealed to the audience that K is also a replicant, hunting his own kind so he may stay alive for a few years longer in the post-apocalyptic world of Blade Runner. However, when K discovers that a replicant named Rachael (the same Rachael from the first Blade Runner film) possibly gave birth to a replicant child with Deckard, K’s life and his journey are sent spiralling down the rabbit hole of truth. K is forced to come to terms with the sins of his past and consider whether or not he, himself is a replicant or a human. K’s journey of self-discovery would lead him to meet Deckard (played by Harrison Ford) and the two must band together to find the replicant child before it’s discovered by other replicants and instigates a war between humanity and replicants.

While I don’t want to spoil anything about the film and implore you to watch the movie yourself, it cannot be understated just how impactful the film is when it comes to portraying K’s journey of self-discovery. K is a ruthless, cold, and calculating Blade Runner at the beginning of the film, however, when his journey leads him down a rabbit hole of self-actualization and reality-breaking revelations, we are shown a broken, determined man fixated on nothing but uncovering the truth.

The film’s execution when it comes to the presentation of themes like identity, destiny and what it means to be alive is handled in a way that is not only subtle, but also is the focal driving point of the whole story. Never deviating away in order to service an unnecessary sub-plot. This, in turn, makes the film’s plot feel more focused and sharp, compared to a messy branch of sub-plots that ultimately never go anywhere and serve to only overcomplicate a story of this magnitude and importance.

Blade Runner 2049’s Cinematography

The cinematography of Blade Runner is something that is always been a major selling point for the film and even won the film an Academy Award back in 2018. The film’s cinematographer, Sir Roger Alexander Deakin (notable for The Shawshank Redemption, No Country for Old Men and, 1917) employed a single-camera set-up for the film. While this technique of cinematography is seen today as a relic of old filmmaking, in Blade Runner 2049’s case, this single-camera set-up only serves to straighten the creative vision for the film and strengthen what is ultimately chosen to be shown on screen and to the audience in the films final cut.

Each shot of Blade Runner 2049 feels important, needed, and symbiotic in telling this cohesive story. Every shot feels cold, dark, and dreary to match the films post-apocalyptic, cyberpunk aesthetic. Sir Roger Alexander Deakin uses each frame and shot to tell a story, no space on the screen is wasted or unutilized, which in turn makes the world feel more alive than ever for the audience.

Whether the camera is flying with K through the neon-soaked streets of 2049 Los Angeles, following K through the orange wastelands of future Las Vegas or, the bleak factories of future San Diego. Each shot, scene and cinematic angle has its own unique story, voice, and character. No shot in Blade Runner 2049 is wasted and every second of screen time only serves to further the plot that plays out on film.  

Blade Runner 2049’s Voice

As previously touched on in the plot breakdown of the film, Blade Runner 2049’s themes of identity and destiny are given great gravitas throughout the 2-hour and 43-minute runtime of the film. K’s journey of self-discovery and metaphorical rebirth from a ruthless, soulless replicant to a human who feels compassion and pain for the ones he’s lost, feels natural and purposeful by the filmmakers.

The film does an excellent job of giving K’s story ample time to breathe and develop when compared to other Hollywood blockbusters, K’s relationships with his holographic girlfriend JOI, his friendship with Deckard and his battle against fellow replicant / Blade Runner, Luv, all feel natural and fleshed out by the end of the film.

The idea of what it means to be alive is a question that the Blade Runner series was built upon. And this idea of what it means to be alive is epitomized by K’s journey of self-discovery and destiny throughout the film. With Blade Runner 2049’s presentation of a replicant who can feel emotions (K) to its audience, the film openly challenges its audience to reevaluate their ideas and values when it comes to the definition of what it means to be alive/human.

That’s what makes Blade Runner 2049 the greatest sequel you have never seen before.

Conclusion

While Blade Runner 2049 may not have been the box office success many studio executives at Warner Bros were hoping it would be. Blade Runner 2049 in recent years has started to be recognized by filmmakers alike as one of the most impressive pieces of cinema to be released in recent memory. Every second of this film is purposeful and engaging, its cinematography and portrayal of K’s journey is both breathtaking and gorgeous in every way possible, the film showcases just how engaging both Dennis Villeneuve can be as a director and the world of Blade Runner can be when in the right hands.

And while the general movie-going audience wasn’t interested in watching this film back in 2017, I strongly encourage each reader of this article to put Blade Runner 2049 on their watchlist in order to truly experience what they missed out on 6 years ago.

That’s why Blade Runner 2049 is the greatest sequel you have never seen before.