could not disagree more in terms of cinematography. Elswitt is amazing no doubt and I had my worries, but this is easily the best looking film I've seen this year. Considering some gorgeous shots were in teasers but ultimately cut... I don't know, I feel like this and 'Blood' are his best visually followed closely by the others.
It looked good and there were moments of portraiture where the use of 65mm was undeniably spectacular (and the format was actually justified). What I was arguing previously was the use of space and movement in Master vs. other PTA films. Most of the film was shot in static close-ups and if it weren't for the extraordinary faces of Hoffman and Phoenix these frames would've quickly lost their cinematic impact. You're telling me you don't miss those glorious steadicam shots in Boogie Nights, Magnolia and There Will Be Blood? These aren't just visually engaging ways of telling a story and establishing a rhythm; more importantly, they expand the canvas to immerse us in the world of the characters, the narrative and the subtexts at play. Malaimare's visual design and choreography fell slightly short in serving the scale and weight of the themes, sounds and personalities in Master. P.S. The best looking film of the year is Samsara. Duh!
ok, maybe I should have specified best looking *narrative* film but I haven't watched Samsara yet anyway. I love Boogie Nights and Magnolia but the steadicam shots were already toned down in There Will Be Blood and I wouldn't say I miss them. I guess I just feel the opposite way but understand what you're getting at. great name by the way!