Pics of the Week: WEEK 1

Cinema is an Art form inherently based around the visual image. To celebrate this notion, every week, there will be 5 stills uploaded onto this blog due to their power to resonate emotionally. Whether they are beautiful, technically perfected, memorable, geniusly disgusting, or meet their intentions – they will be put on here.

1. The Turin Horse (2011)

The Turin Horse (2011)
The Turin Horse (2011)

This shot encapsulates the existential crisis the characters face in this apocalyptic drama. The endless barren fields of despair which seem to go on for eternity, but end up nowhere. The harsh winds almost knocking Ohlsdorfer over. The misanthropic use of high-contrast monochrome. The image provokes so much meaning and emotion but is also memorable due to its simplicity.

2) Hellraiser III: Hell on Earth (1992)

Hellraiser III: Hell on Earth (1992)
Hellraiser III: Hell on Earth (1992)

This image sums up the greatest anti-one-night-stand-franchise ever made. At once sex and death are combined in this shot: a man with a godly physique having sex with a sensual curvaceous female – whilst in the backdrop, a work of art which inside is hiding lord of the cenobites: Pinhead. We are aware that the female will die after having sex with JP Munroe. We are also aware that Pinhead is watching them have sex throughout, making the scene sexy yet unsettling – due to this, I am heavily reminded of when Jeffrey hides in the closet in David Lynch’s Blue Velvet. Also, technically it’s a great shot too – notice the shard-like lighting covering JP adding to the sexual allure of the scene – but also the fact that similar lighting is covering the statue. Again – sex and death are combined. This cheapo exploitation trash flick – at points – has an artistic sensibility.

3) Exit Through the Gift Shop (2010)

Exit Through the Gift Shop (2010)
Exit Through the Gift Shop (2010)

Although done for practical reasons as obviously Banksy wishes his identity to remain anonymous, there’s more to this shot than that. Think about it. This is as close as we’ll ever get to meeting one of the most mysterious characters in pop-culture.

4) Stalker (1979)

Stalker (1979)
Stalker (1979)

This shot is at the end of Andrei Tarkovsky’s Stalker. The shot holds a mysterious magic. Although it is a shot of a rough, run-down, barren, ugly setting – Tarkovsky seems to draw out the beauty of the location. The camera has been placed metres away from our central characters and the lighting now makes them into eluvious – almost ghostly – silhouettes.

The lighting above them allows us to see the tiny dust particles, and it makes the walls become an aquatic green colour. The tiles on the floor are clearly infected and unclean, but the water and its reflections and refractions of light make it seem quite beautiful. The shot also serves an intellectual as well as an emotional purpose for the audience: because the camera has been taken a few metres back, everything the character’s say is now being made more objective, we are made to think, contemplate and question what the characters are saying.

5) Hell Comes to Frogtown (1988)

Hell Comes to Frogtown (1988)
Hell Comes to Frogtown (1988)

Any shot with an appallingly shoddy prosthetic frog carrying a chainsaw ‘threateningly’ is a good shot in my books.

As If I Am Not There (2010)


General Information:

Information below is taken from the following link:


Juanita Wilson


Natasa Petrovic; Fedja Stukan; Jelena Jovanova


As If I'm Not There (2010)

As If I’m Not There (2010)

Samira (Petrovic), a teacher from Sarajevo moves into a new village as a replacement teacher. Suddenly, the town is infiltrated and its inhabitants are made prisoners of war and are sent to a camp.


As If I Am Not There is a perfectly-titled and deeply human film which looks at its central female character, Samira, not as a fictional construct that follows stage-directions and speaks dialogue but as an actual human being. Perhaps this is because of the script, or lack thereof. The film contains minimal dialogue, which is very fitting to its emotional effect. We become more astute to subtle noises in the film. The most uncomfortable being that of a table shaking and creaking whilst Samir is being raped with her head forced down onto the surface. 

Following scenes of psychological and sexual abuse, our central character simply stares into the distance and tries to busy herself with something else. Due to this, she is, in a sense, a deeply relatable character – experiencing the most instinctual of emotions which we have all felt: fear, rebellion, submission, escape, anger and upset. Yet, she is also simultaneously ambiguous. Throughout we ask ourselves: what is she thinking? What lies behind that look in her eyes? Is her expression true or fake? Does she feel like she’ll ever get out? Can she even experience emotion? Does she have any friends or family? Her face is a puzzle in itself.

The eyes are the window to the soul...but what are they saying?

The eyes are the window to the soul…but what are they saying?

The film follows the narrative conventions firmly rooted in Arthouse cinema. There isn’t a plot as such, in the sense that characters don’t strive to get from A to B. Instead, there are lots of subtle events which follow on after the next – like life. The film’s main theme and idea is about human atrocity: the mass committing of sexual abuse against women in the Bosnian Civil War. The way in which the film deals with issues of rape is understated considering the amount of times it hints at or depicts it. The most memorable scene is the first time Samira is raped by three men, and then urinated on afterwards. Following this, the film presents sexual abuse by showing female characters enter the rooms looking down, and hardly able to walk. The film is more about the effects of sexual abuse than the sexual abuse itself.

 This is probably because – in my own personal opinion – the scenes are underplayed. Women slowly get undressed, looking down. There is no sign of struggle. They bend over the desk and simply wait. Once it happens, they cry and there is intense uncomfort. They then go back to their room as if nothing had happened. The latter part is the point. Although the film does focus on the horrifying acts themselves, that isn’t its prior concern. It is concerned with the aftermath: how it leaves the women. Initially, frightened. But then eventually, they feel nothing, it is part of their day to day lives. Rape has become a routine – this is why the understatement is used.

Eventually, the rape has made our central character incapable of feeling. She is brought up by the captain. He is never rough, but instead, soft and gentle She is more unsettled by this as when she is touched, it is usually in violence as opposed to caring. She has now been so desensitised that she has become incapable of love.

Although the film is dark in content, it isn’t as dark in its style. It is more moving and powerful than it is disturbing or frightening. Yet, is this a weakness? For a film which concerns that of sexual abuse quite frequently, surely it should be less dampened down and more horrific? If the film wants to be honest, the rape scenes shouldn’t be unsettling, they should be fist-clenchingly terrifying. Should rape reallybe understated?


Powerful drama with an interesting central performance. The minimal dialogue and the overt suggestion makes an intriguing film which will slightly unsettle and move.