Generic selectors
Exact matches only
Search in title
Search in content
Search in posts
Search in pages
Filter by Categories


While exploring the uncharted wilderness, frontiersman Hugh Glass sustains life-threatening injuries from a brutal bear attack. When a member of his hunting team kills his young son and leaves him for dead, Glass must utilize his survival skills to find a way back to civilisation and revenge.

The Revenant, with it’s long takes, being close to the characters with wide angle lenses and everything shot in natural light, achieves drawing the viewer into the story in a very visceral way. By being so close to the characters, things like their breath, sweat and blood are captured, with this naturalistic approach helping immerse the viewer providing a kind of documentary feel. When even more distortion than already existent in the wide angle lenses was wanted, we can even see a diopter being used in front of the lens. The image becomes even more distorted, making us feel the actor’s angst and pain as if we were part of this experience. The use of natural light in The Revenant makes the viewer feel as if all this is really happening, evoking strong emotions, a sense of exploration, freedom, beauty, but also discomfort. Each scene is carefully rehearsed and choreographed to convey the story with minimal cuts with the weather being a big story element. You really feel as if you are thrown into the elements with the characters. The father and son story help make the dimension of the characters bigger – it is not just a story about guns or about the thought of revenge, but provides the viewers with a much more powerful understanding of their beings and reasons to be. There is a lot to consider in revenge. Even if on surface it is a driving force which helps Glass get through his pain, it reveals other aspects that could possibly bring the character to realise that there is something better, that revenge, once it is accomplished, leaves you empty. Nothing that you do that damages other people can satisfy you and bring back what you lost.

Cinematographer: EMMANUEL LUBEZKI
Year: 2015
Aspect Ratio: 2.35:1

The Revenant
Next Film: Taxi DriverAlien
Previous Film: The Last Emperor

January 12, 2018

If you like these Stills, make sure to buy the movie, it is our absolutely highest recommendation.

The materials archived, stored, and presented here, are copyrighted by their respective contributors, and may not be saved, re-transmitted, republished, or reformatted by any means, electronic or mechanical. This site offers broad public access to these materials exclusively as a contribution to education and scholarship, and for the private, non-profit use of the academic community. The materials are protected by the U.S. Copyright Law (Title 17, U.S. Code) and/or by the copyright or neighboring-rights laws of other nations.