In his career, Woody Allen has always been interested in spatial configurations within his frames; known for occasionally having his characters walk outside the frame, his camera often lingers on empty walls until characters fill them again. In his collaboration with cinematographer Gordon Willis on Annie Hall (1977), we often discover what’s outside the frame is as important as the frame itself.
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Midnight in Paris and the Many Wives of Woody Allen
Woody Allen, who is known for having his characters’ existential conversations spill into the streets, works here within a single space – his couch...
The new film Dear White People runs up against the well-noted limitations of “The Talented Tenth” vanguard.