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[testimonial company="SKATING TO NEW YORK" author="Frank Scheck - Hollywood Reporter"]
Skating to New York looks terrifc
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[testimonial company="SKATING TO NEW YORK" author="Daniel M. Gold - NY Times"]
This movie is distinguished by its long, beautiful shots of the lads on the numbing
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[testimonial company="THE SAMARITAN REVIEW" author="Norman Wilner – Now Magazine"]
It’s very nicely shot
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[testimonial company="THE SAMARITAN REVIEW" author="Robert Koehler – Variety"]
Superebly render nightime scenes tha reek of noir.
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[testimonial company="THE SAMARITAN REVIEW" author="Phillip Sayblack – WNCT station (CBS)"]
The cinematography is stunning.
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[testimonial company="OFF WORLD" author="Dennis Harvey – Variety"]
Francois Dagenais' gorgeous (if almost too dark) lensing of sometimes spectacularly inhumane residential locations.
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[testimonial company="OFF WORLD" author="Aueliano Tonet – Le Monde"]
carefully composed shots
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[testimonial company="OFF WORLD" author="Liz Braun – Toronto Sun"]
Off World is often visually mesmerizing
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[testimonial company="GUY X" author="Joe Utichi – Film Focus"]
Every frame bathes in beauty, thanks in no small part to cinematographer François Dagenais's exquisite attention to detail. The arctic location in the film is both suitably desolate and engagingly attractive and the film's oddly monotone colour palette suits it perfectly.
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[testimonial company="GUY X" author="Rob Fraser – Empire"]
Hats are definitely off, however, to cinematographer François Dagenais, whose every shot hits its target, from the bleak beauty of a volcanic landscape to the nightmarish reality of a hospital ward. His and Metzstein’s work combines with Biggs’ compelling performance to pull off that most difficult of cinematic tricks.
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[testimonial company="GUY X" author="Sam Davies – Sight and Sound"]
The film’s Cinematography and direction are neatly pegged to the arc of Spruance’s moods , as well as the seasons.
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[testimonial company="BETWEEN THE MOON AND MONTEVIDEO" author="National Post – Stephen Cole"]
In addition cinematographer Francois Dagenais spooky late night-cinematography has the fabric of dead-end noirs down cold
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[testimonial company="BETWEEN THE MOON AND MONTEVIDEO" author="Rick Groen – Globe and Mail"]
visually it makes for an arresting spectacle
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[testimonial company="BETWEEN THE MOON AND MONTEVIDEO" author="Adam Nayman – Eye weekly"]
The richness of the visuals is matched by the clever contortions of the plot
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[testimonial company="NO MORE TEARS SISTER" author="Virginia Heffernan – NY Times"]
looks like a Satyajit Ray movie: beautiful and sedatingly slow… With lush cinematography
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[testimonial company="NO MORE TEARS SISTER" author="Vhibuti Patel – Newsweek International Edition"]
With stunning visuals
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[testimonial company="NO MORE TEARS SISTER" author="Andrew Braithwaite – Eye Weeky"]
Beautifully shot
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[testimonial company="MALLS R US" author="Brian Sholis – Art forum"]
Nonetheless, at the end of the film there remains something to the claim made at the outset that the mall is a kind of sacred place. This is partly because of the lovely cinematography of François Dagenais
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[testimonial company="MALLS R US" author="Alex Shoumatoff – Contributing Editor, Vanity Fair Magazine"]
A fascinating, sumptuously filmed
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[testimonial company="MALLS R US" author="Ray Price – New City Film"]
strangely beautiful
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