#hillary spera

[tv-moments]

Extrapolations

Season 1, “2068: The Going Away Party”

Director: Nicole Holofcener

DoP: Hillary Spera

[cappedinamber]

The Package (2018)

Directed by Jake Szymanski

Cinematography by Hillary Spera

[rogerdeakinsdp]

Female cinematographers: Hillary Spera (as Hillary Fyfe Spera) Duck Butter (2018) Directed by Miguel Arteta Aspect Ratio: 2.35 : 1

“I think when we were writing it — because you never know how much you’re gonna be able to get to make a movie — I was like, “Well, we’ll use my house!” You know? But it was kind of surreal, especially the stuff in the bedroom, in my room — Hillary [Spera], the DP, and the whole crew, which wasn’t a huge group, but still — with them being in my bedroom with me, filming me falling asleep and waking up. Once we were wrapped and I woke up, it was weirder that they weren’t there, and I was like, “That’s bad,” I shouldn’t be missing a film crew filming me sleep.” — Alia Shawkat on filming in her own house

[genevieveetguy]

- I'm sorry I was such a shitty boyfriend. - No, you're the best gay boyfriend a girl could have.

Alex Strangelove, Craig Johnson (2018)

[scenesandscreens]

Saturday Church (2017) Director - Damon Cardasis, Cinematography - Hillary Spera "We are only given one life One chance to get it right Into everybody's world Comes hardship and strife It's not about me It's all about you You know I'm gonna love you No matter what you do"

[angelbambina]

by Hillary Spera

[the-valley]

The cinematography of Oxyanna -  HILLARY SPERA 

[mellowyknox]

“Wildlike” Trailer

Director: Frank Hall Green Cinematographer: Hillary Spera

Screens:

Year: 2014

[boardchairman-blog]

**Shots of the Episode**

Dexter: New Blood (2021)

Season 1, Episode 5: “Runaway” (2021) Director: Marcos Siega Cinematographer: Hillary Fyfe Spera

[themovieworldaccordingtotps]

BEST FILM SHOTS OF 2020 (Theme: Separation)

Bad Education – DP: Lyle Vincent Blow The Man Down – DP: Todd Banhazl Collective – DP: Alexander Nanau Mank – DP: Erik Messerschmidt Mogul Mowgli – DP: Anika Summerson Promising Young Woman – DP: Benjamin Kračun Run – DP: Hillary Fyffe Spera The Devil All The Time – DP: Lol Crawley The Invisible Man – DP: Stefan Duscio The Platform – DP: Jon D. Dominguez

[tv-moments]

Dexter: New Blood

“Cold Snap“

Director: Marcos Siega

DoP: Hillary Fyfe Spera

[correfilmeonline]

Corre! (Fuja) assistir online grátis completo dublado legendado

Assistir filme - https://corre-pt.blogspot.com/

Thrillers de qualidade podem tirar a pele de seu gato com um equilíbrio de duas rotas: mostrar ou contar. Roteiristas, diretores e performers planejam e executam escolhas enfatizando qualquer verbo para um efeito dramático. Existe poder a ser encontrado em ambas as ações. Mostrar sem dizer cria imagens marcantes que não precisam de exposição adicional. Em contraste, contar sem mostrar faz com que nossa imaginação pinte a imagem que faltava por nossa conta, muitas vezes de maneiras mais gráficas do que se estivesse refletida em nossos olhos na tela.

A verdadeira habilidade está no equilíbrio. Quando você mostra, quando você conta e quanto? O excesso de imagens explícitas sobre a paciência dos implícitos leva ao excesso. Explicar cada pequena coisa com superexposição estranha descarta a inteligência do espectador e simplifica demais o que deveria ser um desafio excitante. Com um par de polegares de um GIF de Nick Offerman, dois escritores e cineastas atuais que entenderam isso são Aneesh Chaganty e Sev Ohanian. Seu novo filme original do Hulu, Run, é uma ilustração entrelaçada desse equilíbrio entre mostrar e contar.

Em uma pequena cidade rural de Washington, a mãe solteira de meia-idade Diane Sherman (a favorita da TV vencedora do Emmy, Sarah Paulson) passou os últimos 17 anos dedicando seu coração e alma para criar sua filha Chloe (a estreante Kiera Allen). Diane finge a emoção de um ninho vazio que se aproxima. Ela garantiu uma pista de sucesso para a faculdade para Chloe capaz e centrada em STEM, mas o nível de apego protetor é alto e por um bom motivo.

A abertura fria de Run apresenta as circunstâncias angustiantes e frágeis da chegada de uma criança prematura em um mundo de UTIN de tubos e testes. O que se segue nos créditos iniciais é uma pilha sinistra de definições formais de nada menos que cinco doenças médicas que Chloe sofre em sua vida cotidiana, variando de arritmia a paralisia. Criar uma criança com deficiência é um trabalho cansativo, mas recompensador. Diane organizou uma bolha na casa de fazenda para os dois, baseada em confiança, ensino doméstico sem dispositivos, produtos cultivados na horta e uma rotina rígida de checagem de medicação e segurança.

Chloe está ansiosa para abrir suas asas juvenis além desta casa e aldeia e fica muito claro que sua mãe não está tão pronta, apesar de sua insistência. As rachaduras nos avisos de equilíbrio de Chloe ficam maiores. Receber novos remédios em nome da mãe em vez do nome dela soa como um alarme. A curiosa possibilidade de Diane reter cartas de aceitação da faculdade que chegam pelo correio levanta outra.

Igual às qualidades listadas acima, Chloe (e nós, o público) é deixada com a coragem e a engenhosidade para decifrar o que poderia estar acontecendo com todo o subterfúgio crescente de Diane. É aqui que Sarah Paulson assume. Ela tem uma gama que vai de suave e leve a forçada e enfurecida em um sopro de tempo. Como você pode correr sem pernas úteis? Como você pode correr quando a asma sufoca seus pulmões? Você descobre sozinho. Com cada pista competindo com um encobrimento, a verdade perde o borrão e o choque de Chloe dispara.

Ao longo do caminho, estamos de volta ao equilíbrio entre mostrar ou contar. Chaganty e Ohanian explodiram em nós dois anos atrás com Searching, um filme que foi exibido com o alto conceito de extrudar sua narrativa apenas através das telas de consumo. Executar é muito mais tradicional, mas os recursos criativos da equipe de mostrar e dizer implícitos estão brilhantemente à mostra. Assim como em Searching, as provocações e as reviravoltas sugerem e chocam o suficiente sem saturação excessiva de excessos, fazendo seu segundo thriller PG-13 consecutivo que acelera corações sem explodir o que bombeiam por todo o lugar.

As chaves para o equilíbrio na mesa são paciência e precisão. Filmes de suspense com a compostura de escolher seu show vs. locais narrativos ressoam melhor do que montanhas-russas destruidoras e chatos faladores. Chaganty e Ohanian vieram para Run com uma forte premissa que tinha muitos pontos de interrogação para apresentar por trás disso. Muitos outros thrillers nunca passam de sua única ideia inicial. A dupla retarda sua premissa crescente em um filme que parece nunca ficar sem conexões restritivas.

A precisão depois disso vem dos artistas que contribuem depois dos contadores de histórias. A equipe de edição do Searching de Will Merrick e Nick Johnson voltou para dar a Run o ritmo econômico para corresponder à sua resistência pretendida. A diretora de fotografia Hillary Spera (The Craft: Legacy) brinca timidamente com os ângulos e as limitações de perspectiva de uma cadeira de rodas com grande efeito. O compositor Torin Borrowdale (Searching) sintoniza uma trilha sonora que também mostra a moderação correspondente de quando cutucar e quando filtrar. A borda da atmosfera está toda lá.

Se houver um obstáculo para essa harmonia de implícito versus explícito com palavras e imagens no Run, é o fator "por quê". Por mais profunda que a história possa ser e por mais esculpida que o produto possa ser, uma medida de raciocínio crível ainda precisa ser apertada para um thriller doméstico. Já vimos muitas decisões tolas e acontecimentos inesperados em filmes menores.

Corre! (Fuja) assistir filme completo dublado Corre! (Fuja) assistir online legendado Corre! (Fuja) assistir online dublado Corre! (Fuja) completo dublado Corre! (Fuja) completo online Corre! (Fuja) Assista o filme Corre! (Fuja) Assistir filme online legendado Corre! (Fuja) ver filme online Corre! (Fuja) assistir filme livre legendado Corre! (Fuja) assistir filme brasileiro Corre! (Fuja) ver em portugues Corre! (Fuja) Ver filme brasiliero Corre! (Fuja) assistir filme galego Dublado Corre! (Fuja) assistir filme em portugues Corre! (Fuja) dublado online Corre! (Fuja) dublado completo Corre! (Fuja) dublado google docs Corre! (Fuja) em português Corre! (Fuja) filme completo Corre! (Fuja) filme completo legendado Corre! (Fuja) filme completo em português Corre! (Fuja) filme completo dublado online gratis Corre! (Fuja) filme completo dublado em português gratis Corre! (Fuja) filme completo legendado online Corre! (Fuja) filme online grátis

[rogerdeakinsdp]

Female cinematographers: Hillary Spera Alex Strangelove (2018) Directed by Craig Johnson Aspect Ratio: 2.39 : 1

[lifejustgotawkward]

365 Day Movie Challenge (2017) - #172: Band Aid (2017) - dir. Zoe Lister-Jones (52 Films by Women 2017: #12)

After a decade of producing films and co-writing screenplays, in addition to her blossoming career as an actress (currently starring on the CBS sitcom “Life in Pieces”), Zoe Lister-Jones makes her directorial debut in Band Aid, which she also wrote and stars in. Lister-Jones and Adam Pally play Anna and Ben, a suburban husband and wife who are on the verge of divorce. In an attempt to save their marriage, they decide to channel their anger into songs by forming a band in their garage and letting the arguments inspire some musical creativity. An excessively kooky neighbor, Dave (Fred Armisen), joins Anna and Ben on drums, and before long the couple begins to see a future for themselves both personally and professionally.

All of the different roads to success are rocky, and some of Anna and Ben’s problems are mediated by Dave, some of Anna’s friends, a marriage counselor (Retta) and Ben’s mother (Susie Essman). These scenes of marital discord show Zoe Lister-Jones’s strengths as an actress and director, although the writing is occasionally mediocre; a scene near in the end of the film in which Anna’s post-traumatic stress over a miscarriage is explained in heavy-handed generalizations about femininity and motherhood that seem to have been culled from Men Are from Mars, Women Are from Venus. The comic and tragic sides of the narrative are unequal in their respective developments and Fred Armisen (as delightfully weird as you would hope) seems to be acting in an entirely different universe from his co-stars, which is more often distracting than quirky. Even so, most of Band Aid’s music hits the right notes, particularly the wonderful “Love and Lies” and the energetically cathartic “Mood.” I also appreciate that Zoe Lister-Jones worked with an all-female crew, resulting in some first-rate cinematography by Hillary Spera (High Road, Black Rock, Wildlike). Band Aid isn’t likely to sweep any stages come awards season, but it’s a more than pleasant enough way to spend an hour and a half.

[scenesandscreens]

Run (2020)

Director - Aneesh Chaganty, Cinematography - Hillary Fyffe Spera

"I... don't... need you."

[a-taste-of-the-sky]

Duck Butter is the First Film that Made Me Feel Truly Seen and Understood as a Queer Woman

This is a big claim, but it’s true.

Duck Butter, an indie dramedy, was released April, 2018. It stars Alia Shawkat and Laia Costa, was written by Alia Shawkat and Miguel Arteta, and is directed by Miguel Arteta. Though the film received mixed reviews from critics, Alia Shawkat was awarded Best Actress at the Tribeca Film Festival for her performance.

CREDIT: VULTURE.COM

The premise of the movie is that two women named Naima (Shawkat) and Sergio (Costa) meet and decide to do an experiment where they spend 24 sleepless hours together, and having sex every hour on the hour.

The two talk about how they have both been disappointed by falseness in previous relationships. This prompts Sergio to say, "I want to know you, for real. I want 24 hours and I want to come with you every hour . . . I want to see you taking a shit and getting angry . . . we can do it. We can fucking skip time."

This decision essentially fast forwards their relationship, and their intimacy, so they can see each other’s flaws, and also see each other getting angry and sad. So they can get to know each other "for real." However, the two barely know each other when they decide to do this experiment, and things don't exactly go as planned.

As a gay woman, I’m always looking for media that represents my experience when it comes to life and love. However, when it comes to LGBT+ media, I am often disappointed. For one, more films are dedicated to a queer male experience than a queer female experience. (I should also note that there are more films dedicated to gay or bisexual experiences, than transgender or nonbinary experiences; trans and nonbinary people are definitely lacking in representation as well.) There are also often bad tropes that pop up in films centering on sexuality. Gay people often die, or cheat, or hate their gayness and struggle to come out. And when a queer person finds love in a same-sex relationship, AND has a happy ending, AND the movie has quality writing, acting, and production, it almost feels like a miracle. I feel like at this point, I’m almost always expecting a subpar LGBT+ movie, and I’m pleasantly surprised when the movie is well done. So when I do see a quality LBGT+ film, especially about queer woman, I make note of it, and try to tell people about it.

Duck Butter is my favorite LGBT+ movie, that I’ve ever seen -- and I’ve seen a lot of them. This is (1) because I think it is a quality, artistic film, that explores interesting questions, and (2) because of the fact that I finally felt like I could see my own queer, female experience reflected back to me onscreen.

That being said, I’m not going to claim that every woman who loves women (or every LGBT+ person) will love this movie. Sometimes it’s sad, sometimes it’s uncomfortable, and sometimes it's shocking. I also don't think everyone will love the way it ends. But this movie doesn't shy away from the intense parts of relationships; it leans in.

This movie made me feel seen and understood as a queer woman because of how real, and how normal, the two queer women interacting felt to me.

CREDIT: COURTESY OF TRIBECA FILM FESTIVAL

The two elements that made Duck Butter feel the authentic to me, especially where other movies failed, was the conversation in the movie, and the sex.

Conversation: In other movies that depict queer women in relationships, I’ve often felt that there was not enough conversation -- and maybe even little or no conversation -- where the characters got to know each other deeply. I’ve noticed that there’s often a focus on the physicality of attraction. In movies like Kiss Me, the lack of serious conversation between the two women in a relationship seems to imply that the intensity of physical attraction will overcome anything they would need to talk about, or that their relationship is somehow inevitable. The lack of deep conversation in other films showing women in relationships always bothered me. The conversation in Duck Butter, though, is not only there, it's constant. The conversations are sometimes deep and meaningful, sometimes uncomfortable, sometimes intense, sometimes meandering and playful. But the dialogue between Naima and Sergio allows these characters to become known to each other, as well as the audience, in a way that I haven't often seen before in films depicting queer women. I think by making conversation between Naima and Sergio such a strong part of the film, Duck Butter seems to say that conversation IS important in relationships, same-sex or otherwise. It shows that people DO need to talk a lot, and talk through difficult things, in order to try to start a relationship with one another.

Sex: The other big reason I loved this movie was the the way queer women’s sexuality was portrayed, and how it lacked the male gaze. I've often felt that sex scenes in other lesbian movies are unrealistic, often made either too innocent, or overly sexual in ways that appeal to the male gaze. Duck Butter, however, felt different to me. The film is full of sex, nudity, and discussions of sex, but it always feels safe and intimate, and most importantly, made for queer women. This feeling was created intentionally, and discussed prior to shooting, by Shawkat, Costa, and the Director of Photography, Hillary Spera (https://m.youtube.com/watch?v=6m460lrjOuc). Shawkat is also out as bisexual in real life, and her knowledge as a queer woman seems to have greatly impact how this movie was made. It shows gay sex and intimacy in ways that feel normal -- in other words, in a way straight people always expect (and get) to see themselves represented on screen. The movie is also never about the characters’ struggles with their queer identities, simply about two people navigating love and sex, in a way that made me, a lesbian, feel seen and understood.

I also liked how this movie depicted queer women’s loneliness, and desire for something real, and I liked how it asks important questions about love and relationships. I also really appreciated the quality of the writing, acting, and production. 

This movie was a super important one for me as an LGBT+ person, because of the authenticity I saw in the actors’ performances of love between two women. It really portrays these women and their relationship as something normal and beautiful, and interesting to explore. It definitely gets intense and weird at times, but I really valued the realness of it, and it’s something that made me feel seen. If you are LGBT+ as well, or value authentic representation in movies, I would recommend it.

And even if you don’t watch it, or don’t enjoy it as much as I did, I think the fact that movies like this are being released now, is an indication of how far we’ve come, and how we’re headed in the right direction in the future, in terms of authentic LGBT+ representation.