Having cleared to Oscar triumph with the false one-shot gimmickry of Birdman, chief Alejandro González Iñárritu by and by hitches his wagon to the specialized brightness of cinematographer Emmanuel Lubezki, working miracles with his computerized Arri Alexa cameras. By means of Lubezki's clearing widescreen lenses we get ourselves instinctively dragged through the wild, rough ambushes and life-debilitating encounters got in sublimely organized extensive takes, the camera taking after by walking, on horseback, through woods and fields, air and water, frequently without evident alters. This is strong film-production, and much has been made of the rebuffing physicality of the "living damnation" shoot in Canada and Argentina, with an advanced wild bear one of only a handful couple of clear concessions to imitation.
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