Bagaimana Nickel Boys difilmkan dalam sudut pandang orang pertama

RaMell Ross identifies more as a visual artist than a filmmaker. In his second film, Nickel Boys, he attempts a visual artist’s challenge: a feature film shot entirely from a first-person perspective. Every decade, the use of first-person camerawork resurfaces in cinema. Films like Strange Days, Doom, and Hardcore Henry have utilized this technique to heighten the intensity of violence. However, Nickel Boys takes a different approach, focusing on quiet intimacy. The film follows the perspectives of two Black teenagers, Elwood and Turner, as they navigate a brutal reformatory school in the Jim Crow South. The audience sees the world through their eyes, creating a unique and immersive viewing experience.

Ross, known for his documentary Hale County This Morning, This Evening, brings his background in visual arts to the world of filmmaking. Despite his success, he was not actively pursuing projects in Hollywood until a producer approached him about adapting the novel Nickel Boys. Inspired by the harrowing details of the story, Ross proposed a first-person POV approach, which was immediately embraced by the producers. This unconventional method challenged traditional filmmaking techniques, requiring Ross and cinematographer Jomo Fray to rethink the language of cinema.

After a month of testing and experimentation, Ross and Fray found a way to create a deeply immersive and realistic first-person experience for the audience. By slightly lagging behind their marks and embracing the messiness of human vision, they were able to capture a more authentic portrayal of the characters’ perspectives. The use of the Sony Venice camera allowed them to achieve high-quality visuals that enhanced the film’s storytelling.

Through its bold and ambitious approach, Nickel Boys has garnered critical acclaim and is being considered a potential Academy Award contender. Ross’s journey from the art world to filmmaking reflects his unique vision and dedication to pushing the boundaries of storytelling.