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The Prisoner of Shark Island 1936
One often hears comparisons of Pedro Costa to Ford and they’re really not that wrong/only rooted in narrative similarities; both filmmakers utilize light and shadow as a means to convey what their characters are going through emotionally. As soon as we reach the prison on the titular island, the lighting is nothing but extreme, with shadows swallowing entire portions of the compositions. Ford never seems to be inattentive to the what the story calls for in order to make it a good film, always providing the imagery that certain scenes need to succeed and sometimes going beyond what they call for
