Of all the recurring signatures of Malick, his use of fire and water might be the most telling, in part because there's a significant shift between early Malick (Badlands & Days of Heaven) and late Malick. Early Malick favors fire. Late Malick favors water. In his most recent film, To the Wonder, Malick forgoes fire altogether for the first time in his career. Water reigns.
It was a great privilege to create this essay for Sight & Sound magazine -- a publication I've long adored. // The cinema of Koreeda Hirokazu is defined by moments of everyday life. Whatever potential there is for heightened drama – the suicide of a husband, a cult massacre, abandoned children – it is diffused by the familiar rhythms of everydayness. // S&S page - bit.ly/V3vPqd
Created for the 2012 Moët British Independent Film Awards (in collaboration with Intermission Film). A mashup of the past 14 award winners: Tyrannosaur, The King's Speech, Moon, Slumdog Millionaire, Control, This Is England, The Constant Gardner, Vera Drake, Dirty Pretty Things, Sweet Sixteen, Sexy Beast, Billy Elliot, Wonderland, and My Name is Joe. The 15th winner (awarded that night) was Broken.Music: Welcome to Lunar Industries by Clint Mansell