''Central, too, is the combination of astonishingly bravura camera work from Dmitriy Ulyukaev and Sokolov’s editing, which combines tight close-ups with frantic movement. Expertly deployed slow motion captures both the mayhem and moments of surprising beauty: glistening shards of glass from a smashed television screen; a bright-red fountain of arterial spray; the vibrant splash of blood against a beige bathroom suite.”
“…director of photography Dmitriy Ulyukaev make Sokolov’s movie look both as slick and grotesque as a David Fincher music video or one of “Amelie” director Jean-Pierre Jeunet’s early collaborations with co-helmer Marc Caro, specifically “Delicatessen” and “City of Lost Children.” Ulyukaev helps Sokolov’s images move, which is especially important in a scene where the young director’s camera drags us across Andrei’s living room, up a wall, and through a gaping hole into an adjoining bedroom”
''Technically the film is something of a marvel, isn’t it? The cinematography is delightfully propulsive! Something that I enjoyed is how it is employed throughout the film, not just in the fight sequences, but also in small moments such as when Matvey and Andrey stare each other down and Dmitriy Ulyukaev quickly pushes the camera in on their faces. In those first twelve pre-title card minutes, when the action is at its most vibrant, the cinematography, the sound design and the editing all contribute to an undeniable energy, as though we the audience are riding this same adrenaline boost.”
Nikki Baughan, EMPIRE
«Cinematographer Dmitriy Ulyukaev unleashes a litany of stylish and exciting camera tricks. Slow motion and zoomed in shots of blood pooling or water dripping from a faucet to a disgustingly staged shot of Matvei using his tongue to fish out a bobby pin from a hairy drain just exude talent. From standoffs to zooming closeups of eyes jerking in one direction to stare downs, the influences are an obvious mix of Tarantino and the aforementioned Spaghetti Westerns.»
«The mad flourishes of hyper violence and camera swoops are electric, and director of photography Dmitriy Ulyukaev deserves credit for accomplishing a lot of Sokolov’s vision. There’s a youthful, raw kinetic energy in full breakout mode.»
«Although the beauty of the visuals have already been hinted at, it won't hurt to add that the film looks absolutely mesmerizing in any given moment, by virtue of the vibrant art direction and DoP Dmitriy Ulyukaev's resourcefulness in finding new camera angles and overcoming set limitations. Now is probably the right time to mention that the great majority of scenes are shot in just one room .»
Nikola Gocić, NGBOOART
«...the film opens up into one of the most well-choreographed, creatively shot horror fight sequences I’ve ever seen.It sounds oxymoronic, but the camera fluidly moves in the same distinctly stilted way humans in the throes of an all-out smackdown do. It energetically chases them around every corner of their living room stage, framing each hit for maximum impact, and even itself reverberating, recoiling, falling, and bouncing along with the framed characters as they take each hit.This action-miming shooting style really intensifies the excitement, because it takes away the audience’s ability to passively spectate. Since the camera is your eye into the story, when it actively participates, you’re forced to participate as well. In a movie like this, that immersion was all-consuming. I was not alone in my regular, audible, totally uncontrollable, and delightfully disgusted outbursts -It’s important to call attention to cinematographer Dmitriy Ulyukaev’s really impressive work here..»
«There is always movement. Either through the characters and their actions or through the nimble camera. This is skillfully served by Dmitriy Ulyukaev. Sometimes the camera is close to the characters, spying on their gestures and facial expressions, then it drives in smooth journeys from one protagonist to the other or even shows panoramic long shots of the living room. Ulyukaev skilfully plays with the limitations of a small rented apartment and doesn't let boredom arise for a second in relation to the lens.»
Tobias Theiss, FILMTOAST.DE
«[film] Shot with an impeccable directing and supported by an excellent cinematography by Dmitriy Ulyukaev, which raises the film to the top level.»
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