After watching The Revenant, I would rank it as my favorite movie that I have seen recently. However, Ex Machina does not trail behind by much because of the originality of the script and the surreal reality of contemporary Darwinism affecting humanity. Domhall Gleeson is no longer in the forefront, playing in the dynamic relationship with Alicia Vikander (Ava). He is now in a supporting role in The Revenant, which features Leonardo Di Caprio (Glass) and Tom Hardy (Fitzgerald). The Revenant displays Hugh Glass’ fight for survival in a naturalistic and visceral experience for the viewer. The movie has earned broad acclaim because of it’s bear “rape” scene. Which is well deserved, because of it being a pivotal act in the movie that engendered debilitating calamities that Glass’ would have to fight through in the rest of the movie. Aside from all the lamentable ordeals that Glass suffered through, the movie definitely shines in its cinematography.
The genius behind The Revenant’s cinematography is Emmanuel Lubezki. Lubezki was able to focus the viewers visual manifesto through his manipulation of natural light. Such as the opening scene of the movie, where we are presented with a wide lens shot of a forest and water flowing all around, elucidating the beauty of life. In a seamless flow, we are also presented with the excruciating horrors of life in the scene where the trappers are attacked. The sinister backdrop of low light, shadows and campfire smoke underscored the realism of the trappers fight for survival. Arrows coming from all directions and hitting a trapper in the neck, the scene was shot in one long shot through one point of view. The viewer delves into a congested and delirious battle, with trappers dying all around. Allowing us to start questioning our own conviction on the beauty and goodness of life. The Revenant is not just an action movie depicting Glass’ fight for survival, but it also allows the viewer to confer an artistic sensibility that Alejandro González Iñárritu and Emmanuel Lubezki tries to present. We should embrace the syntactic power of the dreamy visuals and the vaguely sinister undertones from the calamities Glass’ faced, which symbolizes our mortality but also our ability to return from death.