You will be redirected back to your article in seconds

David Boyd on Jose Luis Alcaine

Eye on the Oscars: The Cinematographer

The camera in Jose Luis Alcaine’s hands is steady and searching, gentle with a razor’s edge. His work on “El Piel Que Habito” (The Skin I Live In), directed by Pedro Almodovar), is at once lush and foreboding.

The compositions entice, then slam the door shut behind. The light on Elena Anaya’s face illuminates her beauty and shows us her pain. I can’t shake the sense that I’m experiencing the story only how I’m intended to feel it. This is the work of an unwavering photographic mind.

I first became aware of Alcaine’s work when I saw “Belle Epoque,” a beautiful piece of cinematography. John Malkovich’s “The Dancer Upstairs” is strong in no small way due to Alcaine’s contribution.

With this year’s El Piel Que Habito, both streamlined and specific, Alcaine steps on down the road a bit farther. I especially admired his visual expression of the many planes of life — some visible or transparent and some not, some imagined or dreamt and some not.

And while the images for this latest work are presentational by nature of the material, I remain unaware of where and how he places his equipment. It’s a pleasure to get into his head.

David Boyd’s d.p. work is featured in such series as “The Walking Dead” and “Sons of Anarchy,” and in last year’s theatrical release, “Get Low.”

Return to EYE ON THE OSCARS: THE CINEMATOGRAPHER

More Film

  • Virtual Reality Conference Promises to Ignite

    Virtual Reality Conference Promises to Ignite Singapore Media Festival

    The camera in Jose Luis Alcaine’s hands is steady and searching, gentle with a razor’s edge. His work on “El Piel Que Habito” (The Skin I Live In), directed by Pedro Almodovar), is at once lush and foreboding. The compositions entice, then slam the door shut behind. The light on Elena Anaya’s face illuminates her […]

  • SGIFF: Anup Singh Readies Third Film

    Singapore: ‘Scorpions’ Director Readies Third Film With Irrfan Khan (EXCLUSIVE) 

    The camera in Jose Luis Alcaine’s hands is steady and searching, gentle with a razor’s edge. His work on “El Piel Que Habito” (The Skin I Live In), directed by Pedro Almodovar), is at once lush and foreboding. The compositions entice, then slam the door shut behind. The light on Elena Anaya’s face illuminates her […]

  • Canal Plus

    Canal Plus Orders Thomas Lilti's 'Hippocrate' Medical Series

    The camera in Jose Luis Alcaine’s hands is steady and searching, gentle with a razor’s edge. His work on “El Piel Que Habito” (The Skin I Live In), directed by Pedro Almodovar), is at once lush and foreboding. The compositions entice, then slam the door shut behind. The light on Elena Anaya’s face illuminates her […]

  • A Profile of Argentine Fantasy Genre

    Mar del Plata: Argentina on the Rise -- Demián Rugna

    The camera in Jose Luis Alcaine’s hands is steady and searching, gentle with a razor’s edge. His work on “El Piel Que Habito” (The Skin I Live In), directed by Pedro Almodovar), is at once lush and foreboding. The compositions entice, then slam the door shut behind. The light on Elena Anaya’s face illuminates her […]

  • Coco Trailer

    'Coco' Stuffing 'Justice League' at Thanksgiving Box Office

    The camera in Jose Luis Alcaine’s hands is steady and searching, gentle with a razor’s edge. His work on “El Piel Que Habito” (The Skin I Live In), directed by Pedro Almodovar), is at once lush and foreboding. The compositions entice, then slam the door shut behind. The light on Elena Anaya’s face illuminates her […]

More From Our Brands

Access exclusive content