One of the bigger surprises for many (ahem, not all) people when the Oscar nominations were announced was the inclusion of a little Polish indie called "Ida" in the Best Cinematography category. But the story of how the film came to feature two DPs — Ryszard Lenczewski and Lukasz Zal — is an interesting one itself. Unfortunately, Lenczewski has been unavailable lately, but I wrangled up an email chat with Zal about his good fortune. (That's him on the right next to director Pawel Pawlikowski in the photo at the top.) And it's double the excitement for him, too, as he shot the Oscar-nominated documentary short "Joanna" as well. The Polish Film School is taking over! Seriously, though, it was a truly unexpected moment for Zal, of course, to land an Oscar nomination for his feature debut, particularly after the unusual circumstances that led to his assuming the role of cinematographer. What's more,...
- 2/18/2015
- by Kristopher Tapley
- Hitfix
Six years after he died, the 'truth' over Yves Saint Laurent's hedonistic and tortured life is being fought over by two new films
In 2001, seven years before he died, Yves Saint Laurent agreed to be filmed by documentary-maker David Teboul for a rare behind-the-scenes look at his work. In the opening scene, watching a slideshow of family photographs, he grimaces: "J'ai joué le 'grand couturier'…" His voice is both sad and self-mocking; the voice of an old man looking back across a great distance at his frail 16-year-old self, head bowed over his lavishly dressed paper dolls.
Growing up in 1940s French Algeria, the young Yves Henri Donat Mathieu-Saint-Laurent dreamed of Paris: a bullied outcast at school, he escaped into fantasy at home – devouring his mother's fashion magazines, sketching endlessly, and predicting (in the safety of his adoring family circle, at least) a future of spectacular fame.
Six decades on,...
In 2001, seven years before he died, Yves Saint Laurent agreed to be filmed by documentary-maker David Teboul for a rare behind-the-scenes look at his work. In the opening scene, watching a slideshow of family photographs, he grimaces: "J'ai joué le 'grand couturier'…" His voice is both sad and self-mocking; the voice of an old man looking back across a great distance at his frail 16-year-old self, head bowed over his lavishly dressed paper dolls.
Growing up in 1940s French Algeria, the young Yves Henri Donat Mathieu-Saint-Laurent dreamed of Paris: a bullied outcast at school, he escaped into fantasy at home – devouring his mother's fashion magazines, sketching endlessly, and predicting (in the safety of his adoring family circle, at least) a future of spectacular fame.
Six decades on,...
- 3/2/2014
- The Guardian - Film News
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