In Alex Garland’s action thriller cameras are a weapon of truth, writes Adrian Pennington.
There’s a scene in Oliver Stone’s 1986 movie Salvador about the country’s chaotic civil war where a photojournalist played by John Savage is killed in the heroic attempt to capture the money shot - or proof - of military bombs falling on the civilian population.
The heroic nature of photojournalists and the wider importance of upholding the journalistic quest for truth is Writer-Director Alex Garland’s mission in Civil War - although the lines are blurred. The film’s hero, a veteran war photographer, is among a press pack dreaming of the ultimate money shot: the capture or execution...
You are not signed in
Only registered users can read the rest of this article.
Behind the scenes: La Vida y Tal
Jaleo Producciones developed a compact broadcast-style workflow to capture Ana Milán’s improvised performances across theatres in Madrid, Bilbao, Valencia, and Seville, while moving each episode quickly from stage to post-production.
Behind the Scenes: Cape Fear
It’s a jungle out there. Celiana Cárdenas, Director of Photography, explains how the series evoked the oppressive and unsettling atmosphere of a stalker hunting its prey in Apple TV’s pulp fiction.
Esports World Cup: “Mainstream media is a big part of this now, we have to deliver enough content”
A last-minute pivot to Paris brought its own set of challenges as ESL FACEIT assembles the world’s largest esports event. Adrian Pennington reports.
Behind the Scenes: The Odyssey
Art and technology combine for epic storytelling, if you believe the marketing for Christopher Nolan’s latest.
Behind the scenes: Spider-Noir
The Marvel universe series is designed to work both as a gritty monochrome detective story and as a stylised, visually saturated comic book world.
