Award-winning writer and director Paolo Sorrentino’s latest film, The Hand of God, is the poetic story of a young man’s heartbreak and liberation in 1980s Naples, Italy. Although cinematographer Daria D’Antonio’s has worked for many years as part of Sorrentino’s camera crew, including Il Divo and Lan Grande Bellezza (The Great Beauty) this is her debut as director of photography for Sorrentino after learning firsthand from Sorrentino’s frequent cinematographer – and her maestro – Luca Bigazzi. One of her goals with this film, she said, was to make certain that the camera didn’t distract the audience from what was happening on screen.
The Last Thing Mary Saw – a Shudder original movie for the AMC Networks’ premium streaming service for horror, thrillers and the supernatural – takes place during the winter of 1843, in which a young woman is under investigation following the mysterious death of her Calvinist family’s matriarch. Her recollection of the events sheds new light on the ageless forces behind the tragedy. Released in the U.S. on January 20 on Shudder, the film stars Rory Culkin, Stefanie Scott, and Isabelle Fuhrman, and is written and directed by Edoardo Vitaletti, making his feature length film debut. David Kruta was the cinematographer.
Cinematographer Sandra Valde-Hansen (The L Word: Generation Q, Now Apocalypse, White Bird in a Blizzard, Kaboom) found herself capturing scenes in diverse weather and lighting for Natalie Morales' film Plan B. This road movie, now streaming on Hulu, follows a pair of teenaged friends during a day-and-night search for emergency contraception.
In From the Cold is Netflix’s new suspense series that follows a single mother exposed as an ex-Russian spy, who must juggle family life and unique shape-shifting skills in a battle against an insidious enemy. Cinematographer Hermes Marco, AEC, worked with a team of directors to create a stunning contrast between different cities and time frames. Showrunner Adam Glass and Marco worked very closely to define the show’s look, compiling lots of references and defining the contrasting styles to enable the directors to retain a consistent look across the series
Shooting a second season of an award-winning show could potentially have been creatively restrictive, but cinematographer Caroline Bridges and director Patrick Harkins chose to evolve the original look of Guilt by enhancing the cinematic nature of the show.
The CBC/IMDb TV original crime drama series Pretty Hard Cases – now in its second season – was shot in Toronto; not as the typical stand-in for New York, but for Toronto itself, as the series embraces the Canadian city and makes it a character as part of the storylines. Cinematographer Kristin Fieldhouse worked with the production design and costume teams to create a single signature look. “Color plays a big role in the look of Pretty Hard Cases,” says Fieldhouse.
Canon has introduced the EOS R5 C Full-Frame Mirrorless Camera, a hybrid, RF-mount camera that is the company’s first 8K model. The new camera showcases video formats and features from the company’s award-winning Cinema EOS line, alongside select still capabilities. In other news, Canon also announced a firmware update for its EOS C70 4K Digital Cinema Camera that implements sought after features such as Cinema Raw Light internal recording as well as frame and interval recording modes.
The Tragedy of Macbeth—written four centuries ago for the stage—has been translated to the screen throughout cinema history. Replete with medieval atmosphere, witches, and murder, the iconic tale has now been retold by director Joel Coen. Working with director of photography Bruno Delbonnel ASC, AFC, Coen developed a visual approach to the bloody proceedings that emphasizes Shakespeare’s matchless language and the faces of the actors delivering it.
Dr. Matthias Erb has been appointed chairman of Arri’s executive board, effective as of January 1. The announcement was made by the supervisory board of the global film technology company. With this addition, the executive board will once again have three members, as it did in 2019.
In the two decades since we first entered The Matrix, there’s been a quantum leap in computing and filmmaking technology. Visionary filmmaker Lana Wachowski made sure she considered both those changes before going back down the rabbit hole. “There have been huge advances in computing that called for an updated visual representation of the virtual world of The Matrix,” explains Daniele Massaccesi, co-cinematographer with John Toll, ASC on The Matrix Resurrections. “Lana wanted to create a synthetic world that would be believable to humans in 2021. It is therefore photoreal and full of color.”