Sergei Eisenstein - 1958
Eisenstein's images are so much like portraits, even more so here in the longer framings used, and the extremely stylised use of colour. Striking primaries, largely. Symbols, expressionist motifs are everywhere, the eye and the religious idols particularly.
One thing seen here is quite how still Eisenstein's camera is; next to no movement. I would really call Eisenstein still a silent director in many senses (though obviously a still camera means nothing on its own on this count). The wish to express action through montage, facial expression, everything seems to come to a halt when there's dialogue, it's not really a fluid part.
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