Most of the season’s most memorable moments came from that hour, rightfully so, because those bizarre and sometimes beautiful figures will be burned into your mind forever. It was more of a Rorschach test than an episode of television, but as an episode of television it was unlike anything ever seen before. The visuals were the thing here - it mattered less what they meant than how you felt when experiencing them. Even if you didn’t know what to do with the rest of “Twin Peaks,” or even actively disliked it, “Part 8” stood on its own as an exercise in gorgeous, strange, scary, haunting imagery. There are many wonderful nominees in all of the cinematography categories this year, including the work done on “Atlanta’s” exceptional “Teddy Perkins”, “Mozart in the Jungle’s” meditative “Ichi Go Ichi E,” and of course the rapturous “Blue Planet II.” But for me, “ Twin Peaks'” “Part 8” towers above them all. This week’s question: Which series should win for best cinematography at the Emmys? This includes nominated series or anything you think had been snubbed.
(The answer to the second, “What is the best show currently on TV?” can be found at the end of this post.) Every week, IndieWire asks a select handful of TV critics two questions and publishes the results on Tuesday.
0 kommentar(er)
