Berlin Film Festival 2024: Cinematographers on Their Latest Projects
The to Berlinale, the 74th edition of the Berlin International Film Festival, wrapped recently, leaving a trail of artistic conversations and technical insights. American Cinematographer spoke with several cinematographers whose work was featured, offering a glimpse behind the lens of this year’s standout films.
Among those highlighted were Warwick Thornton, ACS, for his Australian drama Wolfram, a follow-up to his 2017 film Sweet Country; Piers McGrail, ISC, on Grant Gee’s Everybody Digs Bill Evans, a portrait of the jazz pianist; Gerald Kerkletz, for Markus Schleinzer’s period piece Rose, starring Sandra Hüller; and Adolpho Veloso, ABC, AIP, who lensed Lance Hammer’s dementia-themed drama Queen at Sea. The festival also showcased the work of emerging talents like Maayane Bouhnik (Where To?) and Charlie Sarroff (Saccharine).
Navigating Constraints and Embracing Style: Maayane Bouhnik on Where To?
For cinematographer Maayane Bouhnik, Where To? marked her feature film debut, a particularly meaningful experience given its premiere in her hometown of Berlin. The film, centered on a Berlin taxi driver and a recurring passenger, presented unique challenges due to its confined setting. “Ninety percent of the film happens inside of a car, at night,” Bouhnik explained. “We had to find a way to tell the story…in a very sensitive and subtle way, and also to feel that we are boxed in with him.”
Bouhnik opted for the Arri Alexa 35, citing its color sensitivity and ability to handle varying light conditions, crucial for a film largely shot at night. The decision to shoot in a 4:3 aspect ratio and utilize Arri DNA lenses was also deliberate, aiming for a balance between accuracy and a subtle softness. A significant portion of the film was shot on an LED stage, requiring a delicate approach to avoid technical distractions from the narrative. “The biggest challenge was that we didn’t have that many shooting days – 19 days, plus one to shoot plates – and sometimes we had just 11 minutes in a day to shoot dialogue,” Bouhnik noted, emphasizing the need for efficiency without compromising artistic vision.
“Candy and Grime”: Charlie Sarroff’s Vision for Saccharine
Charlie Sarroff, working on Natalie Erika James’ body-horror film Saccharine, described his approach as creating a look he termed “candy and grime.” The film explores themes of eating disorders and body image, and Sarroff used visual metaphors to convey these ideas. He employed longer lenses for close-ups early in the film to flatten the image, transitioning to wider lenses as the narrative progressed to create a more rounded feel, mirroring the protagonist’s unhealthy weight loss journey.
A particularly challenging aspect of the production involved working with prosthetics and practical effects. “We had a lot of body prosthetics and some really gory stuff,” Sarroff said, adding that speed and realism were paramount when working with actors in uncomfortable prosthetics. He also noted a connection to his next project, a remake of Possession, as the original film was shot in Berlin, prompting a visit to some of those locations as a “spiritual journey.”
Historical Authenticity and Modern Techniques: Gerald Kerkletz and Rose
Gerald Kerkletz’s work on Rose, a period drama set during the Thirty Years’ War, involved a unique blend of historical accuracy and modern filmmaking techniques. The decision to shoot in black and white wasn’t about nostalgia, but rather a desire to create a visually ordered and rhythmically sharp aesthetic. Despite shooting with color, the entire production team viewed footage in black and white throughout the process, influencing decisions in production design and costume.
A key challenge was recreating the ambiance of 17th-century lighting. Kerkletz and his team developed prototype LED candles that mimicked the flickering light of real candles, allowing for greater control and higher apertures. He highlighted the importance of this innovation, stating it wouldn’t have been possible with traditional candlelight.
Brutalism and Naturalism: Warwick Thornton’s Approach to Wolfram
Warwick Thornton, who both directed and served as cinematographer on Wolfram, described his visual approach as “brutalist,” reflecting the harsh Australian landscape and the film’s gritty narrative. He prioritized natural light and minimal artificial lighting, embracing the “nasty shadows” and “massive contrast” of his upbringing. Thornton intentionally avoided perfection in camera operation, seeking to capture the energy of a first take, and even welcomed the presence of flies in the shots, acknowledging them as part of the environment.
Thornton acknowledged the internal struggle of balancing his roles as director and cinematographer, striving for a balance between artistic vision and storytelling. He also noted the challenges of shooting in extreme heat and working with both children and animals.
Shadows and Subtlety: Piers McGrail on Everybody Digs Bill Evans
Piers McGrail’s cinematography on Everybody Digs Bill Evans aimed to reflect the film’s dark and complex story. Shooting primarily in black and white, McGrail embraced shadows and obscurity, particularly when depicting the jazz pianist’s struggles with addiction. The use of color was reserved for flash-forwards, creating a stark contrast and highlighting moments of clarity and recovery. The production team intentionally sought to evoke the style of 1970s street photography, using lenses and framing to obscure details and create a sense of mystery, especially given the film was shot in Ireland standing in for New York and Florida.
Embodying Generations: Adolpho Veloso and Queen at Sea
Adolpho Veloso’s work on Queen at Sea centered on visually representing three distinct generations through camera behavior. Static shots were used for the oldest generation, reflecting a sense of routine and resignation, while handheld and close-up shots were employed for the youngest, conveying their emotional intensity. The middle generation was depicted with a balance of stability and movement. Veloso emphasized the importance of allowing the cinematography to break these rules when the characters themselves experienced emotional upheaval. He also highlighted the challenges of shooting in a physically constrained location, noting that the limitations of the space mirrored the emotional constraints of the characters.