'Belfast,' 'C'mon C'mon,' 'Passing' and 'Tragedy of Macbeth' all find advantages to going without color.
When it comes to black-and-white cinema, there’s more to it than meets the eye. The monochromatic look dates to the early days of movie history and tends to evoke nostalgia within the psyche. It gently reminds us of where we’ve been and resonates in ways color simply cannot.
This year’s crop is unusually large and includes a number of pictures that have sewn black and white into the fabric of their visual stories — for specific reasons.is a story told through the eyes of young Buddy , who finds himself staring into the face of the Northern Ireland conflict, a volatile period that started during the late 1960s during which unionists and nationalists clashed over whether to stay part of the United Kingdom or to leave and join a united Ireland.
The visual palette of “Belfast” relies on a silvery, dreamlike tone not overwhelmed with moody shadows or deep blacks. “On telling the story, we wanted a style that didn’t get in the way,” adds the director. Cinematographer Robert Yeoman, who’s worked on a number of titles with the director, including “The Grand Budapest Hotel” and “Moonrise Kingdom,” admits that preparation was an intricate part of the pictorial process. “Initially, we were only going to shoot the story about the prison painter in black in white. But in prep, we did a lot of tests, and both Wes and I, and everyone really, responded to the black-and-white film.
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