Shooting a lot of this flawlessly period film on 6mm fisheye lenses, Yorgos found a way, that doesn’t feel like a “way” at all, to shoot this austere story with stinging freshness. To call it “modern” is obvious, but the awesome paradox here is that it feels both hyper-modern and absolutely period at the same time. It is camera obscura, realized. It’s Vermeer moving.
December 13, 2018