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DP Jomo Fray on SELAH AND THE SPADES and Drawing Inspiration From Rihanna’s ANTI

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[Director of Photography Jomo Fray on his long-in-the-making collaboration with Poe]:  “The director, Tayarisha Poe, and I met a few years ago about the project and pretty quickly became totally creatively enamored with one another. We both have very similar ideological approaches to cinema and enjoy taking risks and trying to find new images together. I think after that first meeting we were both buzzing with ideas and thoughts. Although there were a few years between that meeting and principal photography, Tayarisha and I would always be sending images or ideas back and forth with one another. The interesting thing came when we started prep on the film armed with literally years’ worth of images. I think we were both so plugged into the aesthetic at that point that it felt like second nature, and it was from that place that we both realized that we wanted to surprise ourselves and be surprised on set, so we opted to strip back our references to their core and try and find new ways of looking at all of these images we had collected. It was out of that process that the look and feel of the film emerged.”

Read the full interview here.

Sundance: Neon Buys THE LODGE

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“…a hit with horror fans since it debuted last week in Sundance’s Midnight section. In a rave, Bloody Disgusting’s Meredith Borders writes, “Every choice in [THE LODGE] – every frame, every performance, every sound and edit — is crafted for utmost discomfort [and designed by Sylvain Lemaitre], making for a relentless onslaught of unease.”

Read the full article here.

LUCE Review: Tense Thriller Examines a Model Student Suddenly Under Suspicion

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“With LUCE, he showcases elegant filmmaking skills that seem to have been earlier gobbled up by the ill-fated chapter of a big franchise. Onah emphasizes both what the camera shows and purposely hides, while the question of Luce’s true intentions lingers over it all like a dark cloud. It’s an effect the director achieves through expertly calculated long takes (lensed by cinematographer Larkin Seiple, I DON’T FEEL AT HOME IN THIS WORLD ANYMORE.) and an eerie score (composed by Geoff Barrow and Ben Salisbury, ANNIHILATION) that heightens rather than prescribes the on-screen tension.”

Read the full review here.