The Colour of Pomegranates - Sergei Parajanov - Suren Shakhbazyan

The Colour of Pomegranates is all about the visuals. I could have picked almost any Parajanov film here, but I find the visuals of this poetic ode to Sayat Nova (a great Armenian ashik) to be his most visually stunning. I am yet to find films by other directors with compositional styles quite like those displayed here – perhaps the closest I know of is Raoul Ruiz' Hypothesis of a Stolen Painting. This film is readily available on region 2 DVD since the excellent Second Sight released a special edition in 2011. If you enjoy these images I'd highly recommend buying a copy.

Top 3:

The composition of this image is so striking, especially in the film itself where the picture frame on the wall moves from side to side as the cherub rotates. Parajanov's typically sparse and tableau-style mise en scène is on full show.

I love shots from strange perspectives, so this one is an all-time favourite of mine. It's difficult to tell which of the vertices are walls, which are roofs and if the boy is lying down or tied up. The books adorning all surfaces, riffling in the wind adds to the surreality of it.

One of the most instantly recognisable shots from the film and the one which Second Sight chose for their DVD cover. The lace is used as a symbol many times in the film, here perhaps showing purity, innocence or youth (the white is changed to red at one point, then finally to black). 

The rest:

Such a bizarre shot. Amazing isolation of the focus.

Very surreal imagery, if a bit busy compared to the rest of the film.

City of Pirates - Raoul Ruiz - Acácio de Almeida

For the inaugural post I thought I'd pick a film which lacks in the attention it deserves. The visual style in City of Pirates will be instantly recognisable to fans of Ruiz' 80s output, such as Manoel on the Island of Marvels and Three Crowns of the Sailor. The film-makers experiment with a wide range of colour filters and camera tricks to reinforce the present oneiric atmosphere and the colours which de Almeida extracts from the images are incredible. Couple this with Ruiz' ever-astounding surreal imagery and you have my eyes and heart on a plate.

For each film I post about I shall select my favourite three shots and display them at the top of the page, followed by a selection of other ones which I love; probably between 30 and 70 depending on how long the film is and how static the camera.

Top 3:

I love so many things in this shot: the cold colour palette cut by the warm bed at the right; the ghostly light streaming in through the window; the child in centre frame, yet lost in his surroundings; the striking image the chair cuts and its long shadow. Beautiful and eerie.

I am very picky about the use of colour filters in films, but this is undeniably beautiful. The look which is achieved here is like a watercolour painting. Yes, this is actually a motion shot in the film, with the waves moving into the beach.

This shot epitomises the playfulness and creativity which Ruiz displays in his visuals. This shot lasts only a few seconds, yet he still got a full set of jaws constructed.

The rest:

Great dreamlike feel to this shot

Amazing reds in this shot to go with the sinister scene

Amazing gloomy colours. The captive looks so small against the captor.

Wonderful stark composition with an effective contrast between the grass and sky.

Random outdoor mirrors look awesome on film.