The official trailer for “Blade Runner 2049” has arrived, and it looks like the science-fiction sequel is going to be one of the best looking films of 2017. That shouldn’t come as too much of a surprise given the talent involved behind the camera. Not only is recent Oscar nominee Denis Villenueve in the director’s chair, but he’s also got the master Roger Deakins as cinematographer.
The duo have worked together on two previous efforts — “Prisoners” and “Sicario” — and both times Deakins ended up with an Oscar nomination for Best Cinematography. Will the third time be the charm? Could Deakins actually win his first Oscar? It’s obviously too early to tell, but damn if this trailer isn’t a jaw-dropping stunner.
It’s impossible to tell which two characters are meeting in this establishing shot, but what is abundantly clear is that Roger Deakins is not messing around. The way the light reflects and fades into the angles of the room, as well as the architecture of the set design itself, are simply beautiful. Whatever room this is, we can’t wait to see it on the big screen.
The trailer makes it clear that symmetrical compositions are going to be seen a lot in “Blade Runner 2049.” These glass chambers are filled with humanoid figures and are housed in what looks like a futuristic pyramid. Consider us very intrigued.
“Every civilization was built off the back of a disposable work force,” says Jared Leto’s mysterious villain. “But I can only make so many.” Here we see the birth of one of these “disposable” beings, which appears to be a next-level replicant of sorts.
The blue lighting is notable here. The trailer begins with shades of yellow, before segweying into the hellish oranges that were first introduced in the teaser last year. “Blade Runner 2049” looks to be Deakins’ most impressionistic work yet.
If this isn’t the world’s most perfectly lit rooftop, we’re not sure what is.
The hellish orange landscape seems to be where Ryan Gosling’s K will stumble upon the long-lost Deckard (Harrison Ford). These statues have no context in the trailer, but they imply Deckard has been hiding out in some kind of temply or wealthy estate.
Villeneuve wasn’t kidding when he was saying he wanted to use as much practical effects as possible. Everything from the ship to the dirty and decaying infrastructure seems tangible here. This is as good as establishing shots get.
It wouldn’t be “Blade Runner” without some gorgeous futuristic holograms. This neon beauty is going to look especally epic in IMAX, we’d imagine.
It was probably the most inevitable shot that was going to appear in the new movie. Given how iconic the original’s image of a flame burning in the reflection of an eye has become, it only makes sense Deakins would put his own spin on it.
The trailer ends with a quick action scene. The setup here — open windows, black sillhouttes — recalls Deakins’ staging of the Shanghai sniper sequence in “Skyfall,” only he has swapped neon blue for dusty yellow.