Dee Rees
8 connections found
Filmography
View:
Connections, in both directions
And it’s captured by Coogler’s Fruitvale Station director of photography, Rachel Morrison, who just made history by becoming the first woman to be nominated for the Academy Award for Best Cinematography for her work on Dee Rees’s Mudbound.
There’s vibrant cinematography by Cambridge native Rachel Morrison, who’s also up for an Oscar this year for her work on “Mudbound,” that captures the cityscapes of Seoul and the plains of Wakanda gloriously but gets lost in the CGI mashup toward the end.
Cinematographer Rachel Morrison, a current Oscar nominee for her work on Mudbound , visualizes the film’s many lavish vistas with an eye for grandeur.
Director Ryan Coogler and cinematographer Rachel Morrison (who has been nominated this year for an Oscar for her work on the film Mudbound) present the land of Wakanda as an illuminated, shining fantasy of Afrofuturism, bordered by waterfalls, with cities steeped in traditionalism and hi-tech advances.
The footage is perfectly lit (D.P. Rachel Morrison, Mudbound ).
And it was lensed by Rachel Morrison, tipped to become the first woman to win the best director of photography Oscar for her work on Mudbound.
This is an exceptional motion picture, emotional and powerful and beautifully rendered and true, but movies like this – and Ava DuVernay’s The Middle of Nowhere, and Dee Rees’s Pariah, and so many more – aren’t just about that (through they’re commendable on those terms as well).
Like Dee Rees’ Pariah from 2011 (which is about a black same-sex attracted teenage girl in Brooklyn), Moonlight takes familiar elements of films about both the black and gay experiences and morphs them into something that feels fresh and new.
Her Oscar omission for “Pariah” still stings and I rejoice at the sight of her in any film.
He showed his abilities and the depth of his scope with the little seen “Middle of Nowhere” from Ava DuVernay in 2012, and “Pariah” by Dee Rees from 2011.
Rees directed Mudbound in 2017, which focused on black and white poverty in post-World War II Mississippi.
Resembling a smart mash-up of Dee Rees’ Mudbound and Robert Rodriguez's From Dusk Till Dawn…
Like Manchester by the Sea last year, it’s the movie we’ll still be talking at this point in 2018.
Now, she has the keys to Walt’s kingdom as “Mulan” is the most expensive female-directed film ever at $200 million, topping Patty Jenkins’ “Wonder Woman” ($175 million) and crushing Ava DuVernay’s “Selma” ($20 million), Dee Rees’ “Mudbound” ($10 million) and Kathryn Bigelow’s Oscar-winning “The Hurt Locker” ($11 million).