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boardchairman-blog · 6 months

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**Shots of the Episode**

A Murder at the End of the World (2023)

Episode 2: “The Silver Doe” (2023) Director: Zal Batmanglij Cinematographer: Charlotte Bruus Christensen

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tv-moments · 3 months

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A Murder at the End of the World

“Chapter 4: Family Secrets”

Director: Zal Batmanglij

DoP: Charlotte Bruus Christensen

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mrs-stans · 1 year

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@benjamincaron: BTS #sharper 🏙️ @imsebastianstan @brianamariemiddleton @charlottebruuschristensen

#Sharper #Sebastian Stan #Briana Middleton #Benjamin Caron #Charlotte Bruus Christensen #BTS #Behind The Scenes #Sharper BTS #mrs-stans #instagram

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distort251 · 11 months

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Sharper (2023) / Cinematography by Charlotte Bruus Christensen

#Sharper #2023 #film #movie #cinema #the scene session #cinematography #A24 #Charlotte Bruus Christensen #Sebastian Stan #Briana Middleton

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chinchillasorchildren · 1 year

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Films of 2023: Sharper (dir. Benjamin Caron)

Grade: B-

#ludicrous and very fun #films of 2023 #sharper #justice smith WAKE UP #Julianne Moore #Charlotte Bruus Christensen really shot the hell out of this

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horror-aesthete · 7 months

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Black Narcissus, 2020, dir. Charlotte Bruus Christensen

Episode One

#horror aesthetic #horror tv #black narcissus #new 20s horror #psychological horror #historical horror

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byneddiedingo · 11 months

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Two Takes on a Hardy Novel

Julie Christie and Alan Bates in Far From the Madding Crowd (John Schlesinger, 1967)

Cast: Julie Christie, Alan Bates, Terence Stamp, Peter Finch. Screenplay: Frederic Raphael. Cinematography: Nicolas Roeg. Production design: Richard Macdonald. Film editing: Malcolm Cooke, Jim Clark. Music: Richard Rodney Bennett.

Matthias Schoenaerts and Carey Mulligan in Far From the Madding Crowd (Thomas Vinterberg, 2015)

Cast: Carey Mulligan, Matthias Schoenaerts, Tom Sturridge, Michael Sheen. Screenplay: David Nicholls. Cinematography: Charlotte Bruus Christensen. Production design: Cave Quinn. Film editing: Claire Simpson. Music: Craig Armstrong.

Almost 50 years separate these two adaptations of Thomas Hardy's Far From the Madding Crowd, and the differences between the two owe as much to film technology as to changing tastes. As always, translating page to film involves compromises. Screenwriter Frederic Raphael remains faithful to the plot, with the paradoxical result that characters become far more enigmatic than Hardy intended them to be. We need more of the backstories of Bathsheba Everdeen (Julie Christie), Gabriel Oak (Alan Bates), William Boldwood (Peter Finch), and Frank Troy (Terence Stamp) than the highly capable actors who play them can give us, even in a movie that runs for three hours -- including an overture, an intermission, and an "entr'acte." These trimmings are signs that the producers wanted a prestige blockbuster like Doctor Zhivago (David Lean, 1965), which had also starred Christie. But Hardy's works, with their characters dogged by fate and chance, don't much lend themselves to epic treatment. David Nicholls's screenplay for the 2015 film is much tighter than Raphael's, and about an hour shorter. Nicholls makes most of his cuts toward the end of the film, omitting for example the episode in which Troy (Tom Sturridge) becomes a circus performer, one of the more entertaining sections of the Schlesinger-Raphael version. I think Nicholls's screenplay sets up the early part of the stories of Bathsheba (Carey Mulligan) and Gabriel Oak (Matthias Schoenaerts) much better, though he has to resort to a brief voiceover by Mulligan at the beginning to make things clear. His account of the affair of Troy and the ill-fated Fanny Robbin (Juno Temple) is less dramatically detailed than Raphael's, but in neither film is their relationship dealt with clearly enough to make us understand Troy's character. John Schlesinger, a director very much at home in the cynical milieus of London in Darling (1965) and Sunday Bloody Sunday (1971) and New York in Midnight Cowboy (1969), doesn't show much feeling for Hardy's rural, isolated Wessex, where the weight of tradition and the indifference of nature play substantial roles. What atmosphere the film has comes from cinematographer Nicolas Roeg's images of the Dorset and Wiltshire countryside and from Richard Rodney Bennett's score, which received the film's only Oscar nomination. And where atmosphere is concerned, Thomas Vinterberg has an edge thanks to technological advances: In Schlesinger's film, despite the fine cinematography of Roeg, the interiors seem impossibly overlighted for a period that resorted to candles and oil lamps for illumination. The change in film technology now makes it possible for us to see the way people once lived -- in a realm of darkness and shadows. (We can almost precisely date when this change in cinematography took place: in 1975, when director Stanley Kubrick and cinematographer John Alcott worked with lenses specially designed for NASA to create accurately lighted interiors for Barry Lyndon. Since then, the digital revolution has only added to the arsenal of lighting effects available to filmmakers.) So cinematographer Charlotte Bruus Christensen's adds an element of texture and mystery to Vinterberg's version that was technologically unavailable to Roeg, and not only in interiors but also in night scenes, such as the first encounter of Bathsheba (Carey Mulligan) and Sgt. Troy (Tom Sturridge), when he gets his spur caught in the hem of her dress. The scene is meant to take place by the light of the lamp she is carrying, which Christensen accomplishes more successfully than Roeg was able to. On the whole, I think I prefer the newer version, which is less star-driven than Schlesinger's, but in the end the best version of the story is Hardy's novel.

#Far From the Madding Crowd #John Schlesinger #Thomas Vinterberg #Julie Christie #Alan Bates #Carey Mulligan #Matthias Schoenaerts

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howardhawkshollywoodannex · 3 days

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Mads Mikkelsen in The Hunt (2012), photographed by Charlotte Bruus Christensen. Char was born in Denmark and has 35 cinematography credits from a 2003 short to seven episodes of a 2023 mini-series in the US.

Her first English language film was Life (2015) with Robert Pattinson. Her other notable credits include Far from the Madding Crowd with Carey Mulligan, The Girl on the Train, Fences with Denzel Washington, Molly's Game, and A Quiet Place.

#mads mikkelsen #hunt

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somebaconlover · 1 year

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Fences (2016)

Directed by Denzel Washington

Cinematography by Charlotte Bruus Christensen

Starring Denzel Washington, Viola Davis, Stephen McKinley Henderson, Jovan Adepo and Mykelti Williamson

"Some people build fences to keep people out, and other people build fences to keep people in."

#Spotify

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proaudiovisualcmc · 1 year

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Charlotte Bruus Christensen (1978-)

Directora de fotografía danesa.

·Premios: Bodil Award for Best Cinematographer.

·Fue nominada al Robert Award for Best Cinematography

#directora fotografía de cine

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boardchairman-blog · 6 months

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**Shots of the Episode**

A Murder at the End of the World (2023)

Episode 1: “Homme Fatal” (2023) Director: Brit Marling Cinematographer: Charlotte Bruus Christensen

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tv-moments · 3 months

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A Murder at the End of the World

“Chapter 5: Crypt”

Director: Brit Marling

DoP: Charlotte Bruus Christensen

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sesiondemadrugada · 2 years

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All the Old Knives (Janus Metz, 2022).

#all the old knives #janus metz #chris pine #thandiwe newton #olen steinhauer #charlotte bruus christensen #mark eckersley #per sandholt #marcus rowland #victoria allwood #judy farr #stephanie collie

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fortunaegloria · 3 years

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Millicent Simmonds, Noah Jupe, John Krasinski, Emily Blunt and director of photography Charlotte Bruus Christensen on the set of A Quiet Place, from Paramount Pictures. (Photo credit: Jonny Cournoyer)

#john krasinski #millicent simmonds #noah jupe #emily blunt #Charlotte bruus Christensen #a quiet place #um lugar silencioso #this picture was taken on John's birthday in 2017

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vintagewarhol · 3 years

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