Starting out this week we’ve got images from Claire Denis most recent work, HIGH LIFE. This film was shot by French cinematographer Yorick Le Saux and brings a haunting intimacy and psychological horror to the sci-fi genre that sets it apart from other space films, but also from the rest of Denis’ illustrious body of work.

Then we have Todd Haynes iconoclastic nonlinear Bob Dylan biopic, I’M NOT THERE. Shot by long-time Haynes collaborator Edward Lachman, the film could almost be considered six films in one given the constantly shifting visual style between the different narratives. A fantastic example of how to build a coherent visual identity for a project even with an extremely varied color pallet.

We’ve also got new images from THE GRANDMASTER, master director Wong Kar-wai‘s epic biopic of martial arts legend Ip Man. Cinematographer Philippe Le Sourd and costume designer William Chang Suk Ping received Oscar nominations for their absolutely stunning work on this film. Despite being a film centered on physicality and movement with gorgeous set design, a large portion of the film is shot in closeup and medium closeup. These are some of the film’s most arresting images and a masterclass of the ways in which you can make even something as simple as a closeup on an actors face feel poetic and emotionally expressive.

And finally 2019’s family comedy-drama THE FAREWELL, the feature film debut of director Lulu Wang and winner of the Independent Spirit Award for Best Feature. Thanks to the subtle but powerful work of cinematographer Anna Franquesa Solano, the film creates a strong sense of visual mood within a limited set of domestic environments, really bringing out the tragicomic tone of the narrative. The shot toward the end of the film of the car driving away as Nai Nai waves to her grandaughter makes me tear up even in still-image form!