[REL] An Cailín Ciúin (2022) [Ireland]

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Night457
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Re: [REL] An Cailín Ciúin (2022) [Ireland]

Post by Night457 »   1 likes

Terrific movie, thank you!

It has been noted that this takes place in 1981, but I could not understand how a viewer could figure that out so precisely. Maybe that was covered in the English mumbled dialog. There are no mobile phones, anyway.
mimzy wrote: Tue Jun 21, 2022 10:54 amBTW, can somebody explain why some directors prefer to shoot narrow-screen movies today?
An online search showed me that critics were interested in the narrow Academy aspect ratio used in the film. Watching it, I noticed that many of the scenes were indoors in a narrow space, sometimes framed through doorways. A wider image would not have expanded the sides of the image, it would have just shortened the height of the space inhabited by the characters. Here are a few online quotes on the narrow image, including a VERY relevant justification for it by the director.
Spoiler:

1
Kate McCullough, among the best Irish cinematographers of her generation, risks jarringly dramatic contrasts between light and shade in her academy-ratio images (it is time for a treatise on why that narrow frame is so in fashion again).

2
Shot in a 4:3 “Academy” aspect ratio, the squared-off framing and boxed-in quality of the imagery shows us the limits of a child’s world. Cáit can roam, but the spaces she moves through are always bordered by darkness.

There is some nostalgia in the framing of the film, but there’s also a kind of lived-in realism. This is the visual language of memories. You watch a recording of that time and it’s in the same aspect ratio, on video cassette or cine film. The mind’s eye recalls lives and experience of this era as a series of these squares.

3
The film is shot in the classic Academy-format and despite Bairéads wonderful use of this aspect ratio, one wishes for the shy and introverted 9 years old girl a temporary escape into dreams in Cinema scope.

4
Shooting in full-frame Academy ratio, director of photography Kate McCullough captures Cáit moving between pale yellow doorways, squaring the difference between this place, her home, and the discomfort that lies in between.

5
Director Colm Bairéad: "I’m very interested in the question of point of view in film, and this film is very much a first-person narrative. We were trying to mirror Foster, and Foster is written in first person; that’s one of the reasons Foster feels very cinematic, you’re literally in this girl’s shoes the whole time. Our biggest question was, how do we transpose that to the language of film? Kate used the Academy ratio; it’s a narrower frame. It is an interesting way of holding this one character, it gives a first-person approach, but in this case, it’s a first-person narrative about a person who doesn’t understand the world yet. It is also a great frame to situate the audience in this time in our past."

**************
Quote sources:

1 = https://www.irishtimes.com/culture/film ... -1.4874638

2 = https://dublininquirer.com/2022/05/18/a ... %20realism.

3 = https://shomingekiblog.blogspot.com/202 ... rl-by.html

4 = https://www.bfi.org.uk/sight-and-sound/ ... ly-outcast

5 = http://www.movies.ie/an-cailin-ciuin-in ... m-bairead/
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mimzy
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Re: [REL] An Cailín Ciúin (2022) [Ireland]

Post by mimzy »   1 likes

Thanks Night for this great research! It all makes perfect sense. Now I wonder why they make those extra wide 2.35:1 movies :oops: 16:9 is IMO the most optimal format for the eyes.
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Night457
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Re: [REL] An Cailín Ciúin (2022) [Ireland]

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mimzy wrote: Wed Jun 22, 2022 1:48 am Now I wonder why they make those extra wide 2.35:1 movies :oops: 16:9 is IMO the most optimal format for the eyes.
For Cinemascope movies seen in the theater, I had to sit toward the back so I could see all the image and didn't have to swivel my head back and forth like watching a tennis match! :D (Back when I went to the theater, that is.) Interesting trivia: the Cinerama version of "How the West Was Won" (1962) was 2.59, but supposedly Warner Brothers later rereleased it in an insane 2.89 ratio!

I don't know why 16:9 (1.78) was chosen for widescreen TVs when the two most common cinema widescreen options were American 1.85 and European 1.66, but it is a comfortable intermediate between Academy 1.37 and Cinemascope 2.35.

Personally I like 1.66. I looked more closely at such things when I found out it was preferred for many (not all) of their own films by directors like Stanley Kubrick and David Cronenberg. Since even the boring Kubrick films LOOK fantastic, I had to take that seriously. I decided I liked it too.
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