Monday, April 11, 2022

Sicario (USA: Denis Villeneuve, 2015)

 Sicario (USA: Denis Villeneuve, 2015: 121 mins)

Deakins, Roger. "Sicario." DP30 (November 14, 2015)

Foley, Darren. "Sicario: Film Analysis." Must See Films (Posted on Youtube: March 28, 2016)

Laczkowski, Jim, et al. "Denis Villeneuve." The Director's Club #140 (December 17, 2017) ["Now Playing Network Master of Ceremonies (and Director's Club founder) Jim Laczkowski joins us for this episode which has us looking at the films of French Canadian filmmaker Denis Villeneuve! With Jim's help, we look at how Villeneuve brings his unique combination of thoughtfulness, pathos, family focus, and strangeness to dramas, genre thrillers, and films across the sci-fi spectrum. Includes lots of spiders and one talking fish."]

Lane, Anthony. "Dark Places: Sicario." The New Yorker (September 21, 2015)

McGrath, Callum. "Looking to the other side: Dismantlement and reimposition of borders in Sicario and The Three Burials of Melquiades Estrada." Senses of Cinema #108 (January 2024) ["Two films that engage in ideas of the permeability of the US-Mexico border are Sicario (Denis Villeneuve, 2015) and The Three Burials of Melquiades Estrada (Tommy Lee Jones, 2005). This article will explore how these films either reimpose or dismantle the border. To construct these arguments, an analysis of cinematic techniques will be undertaken for each film, with a focus on mise-en-scène. It will be argued that the negative depiction of Mexico in Sicario reimposes border ideology. Subsequently, the article will assert that The Three Burials of Melquiades Estrada instead dismantles the border division. In both texts, however, there are challenges and nuances to these arguments, as will be explored. These include border permeability in instances that are beneficial to the hegemony of the US in Sicario, and some aspects of Mexico’s romanticised portrayal that reinforce a divide in The Three Burials of Melquiades Estrada."]

Orr, Christopher. "The Almost Greatness of Sicario." The Atlantic (September 25, 2015)

Scott, A.O. "Sicario Digs Into the Depths of Drug Cartel Violence." The New York Times (September 17, 2015)

StudioBinder. "Denis Villeneuve & His Cinema of Ambiguity — Directing Styles Explained." (Posted on Youtube: April 6, 2020) ["Denis Villeneuve movies are made to confuse you. At every opportunity — in the story, in the cinematography, editing, and music, Villeneuve wants to keep you guessing. Watching Denis Villeneuve movies is to be placed in an environment of uncertainty. And that’s what makes them so interesting. In films like Enemy, Prisoners, Polytechnique, Blade Runner 2049, and Arrival, Villeneuve consistently creates awe and wonder with images and sounds we’ve never seen before. In Enemy, Adam (Jake Gyllenhaal) must confront the possibility that he is more than a single person. In Sicario, Kate (Emily Blunt) is pushed into the world of drug cartels by a tight-lipped company man (Josh Brolin) and a near-silent assassin (Benicio Del Toro). In Prisoners, Keller (Hugh Jackman) ventures into murky moral territory to find his kidnapped daughter. In Arrival, Louise (Amy Adams) and Ian (Jeremy Renner) are tasked with bridging the communication gap between beings from another dimension. In all these movies, the characters find themselves in new worlds without answers. In this video, we’ve cracked the code on Villeneuve’s love of ambiguity and we explain how his directing style works across 7 areas of focus including sound, color, production design, and more. Villeneuve creates movies that can be enigmatic but there’s no denying that he is a film artist in complete control of his medium. If you’re studying directing, cinematography, editing, or pursuing ANY career in filmmaking, there are a ton of lessons to be learned from Denis Villeneuve. This is the ultimate breakdown of Denis Villeneuve’s directing style."]

Tallerico, Brian. "Sicario." Roger Ebert (September 15, 2015)

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