Perhaps there’s much more to what can be seen and perceived than what is actually visible, ‘Under the Skin’ not only defies the tenets of regular cinematography and the power of a camera, it goes way beyond to redefine what abstraction is. Be it the opening sequence or capturing the scenic beauties of Scotland or the leading lady herself, the genius of British cinematographer Daniel Landin says it all. Unlike other horror or sci-fi movies, this one seems straight up from the 80s – abstract, polymorphic references, minimal use of CGI and most importantly, a scintillating cinematography. Here’s a peel by peel of ‘Under the Skin’ for your perusal, and needless to say, if you haven’t watched the movie yet, SPOILERS ALERT! Presenting to you, one such interpretation from a very mediocre mind. Deserving or not, here it is, ‘Under the Skin’ on a platter in front of us and it is but obvious to state here that the movie is highly subjective and open-ended on the outset and it has been left to a viewer’s discretion to interpret the movie in a way s/he wants to, to a very large extent. And moreover, it is a news to me that a movie that has made it to the list of BBC’s 100 Greatest Films of the 21st Century still bombed at the box office, maybe because, to put it rather bluntly, we don’t deserve a movie like ‘Under the Skin’ yet.
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