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Tag: Camerimage 2023

  • Camerimage: ‘The New Boy’ Claims Golden Frog

    Camerimage: ‘The New Boy’ Claims Golden Frog

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    The New Boy — the story of a young Aboriginal Australian orphan boy that was written, directed and lensed by Warwick Thornton — collected the Golden Frog in the main competition of the 31st EnergaCamerimage international cinematography film festival, which closed Saturday night in Torún, Poland.

    Cinematographer Ed Lachman received the Silver Frog for Pablo Larraín’s El Conde, which positions Chilean dictator Augusto Pinochet as a vampire. Robbie Ryan’s lensing of Yorgos Lanthimos’ Poor Things, the story of a young woman (Emma Stone) brought back to life by an unorthodox scientist, claimed the Bronze Frog as well as the Audience Award. (Ryan collected the Golden Frog two years ago, for Mike Mills’ C’mon C’mon, and Lachman won the Golden Frog in 2015, for Todd Haynes’ Carol.).

    The FIPRESCI Prize was awarded to Jonathan Glazer’s The Zone of Interest, a chilling look at the life of Auschwitz concentration camp commander Rudolf Höss and his family, lensed by Lukasz Zal (who won the 2013 Golden Frog for Ida).

    These films topped a competitive field in the main competition that includes Oscar hopefuls such as Ferrari, Killers of the Flower Moon, Maestro and Napoleon. The main competition winners were selected by a jury that included president Mandy Walker, Anthony Dod Mantle, Millennia Fiedler, Karl Walker Lindenlaub, Jan Roelfs, Jonathan Sela and Salvatore Totino.

    Winners in the additional races included Totino, who topped the TV series competition for his work on The Offer episode titled “A Seat at the Table,” directed by Dexter Fletcher.

    Camerimage presented a series of special awards during the closing ceremony. Peter Dinklage accepted the Festival Director’s Award for an Actor and also helped introduce the event’s closing night film, which he stars in, Rebeca Miller’s She Came to Me.

    Krzysztof Zanussi was honored with the Lifetime Achievement Award for a director; the Brothers Quay, the award for directors with unique visual sensitivity; cinematographer Peter Zeitlinger and director Werner Herzog, the cinematographer/director duo award; Jenny Beavan, a special award for achievements in costume design; and Floria Sigismondi, the award for directing achievements in music videos.

    Cinematographer Rodrigo Prieto, whose recent work on Barbie and Killers of the Flower Moon was featured at the festival, was feted with The Hollywood Reporter‘s first Titan honor for a cinematographer, which was presented by tech editor Carolyn Giardina.

    The complete list of winners follows:

    Main Competition

    Golden Frog: The New Boy
    Cin. Warwick Thornton
    Dir. Warwick Thornton

    Silver Frog: El Conde
    Cin. Ed Lachman
    Dir. Pablo Larraín

    Bronze Frog: Poor Things
    Cin. Robbie Ryan
    Dir. Yorgos Lanthimos

    FIPRESCI Award 

    The International Federation of Film Critics Award for Best Film: The Zone of Interest
    Cin. Łukasz Żal
    Dir. Jonathan Glazer

    Polish Films Competition

    Best Polish Film: Doppelgänger. The Double
    Cin. Bartłomiej Kaczmarek
    Dir. Jan Holoubek

    Film and Art School Etudes Competition

    Laszlo Kovacs Student Award – Golden Tadpole – Cremation, Or The Quarantine Hotel
    Cin. Wen Lau
    Dir. Ning Qian
    School: National Taiwan University of Arts (NTUA)

    Silver Tadpole: Plastic Touch
    Cin. Celia Morales
    Dir. Aitana Ahrens
    School: The Madrid Film School (ECAM)

    Bronze Tadpole: Poor Boy Long Way from Home
    Cin. Tuur Oosterlinck
    Dir. Jonas Hollevoet
    School: Sint-Lucas School of Arts, Brussel (LUCA)

    Documentary Features Competition

    Golden Frog — best feature documentary: The Echo
    Cin. Ernesto Pardo
    Dir. Tatiana Huezo 

    Documentary Shorts Competition

    Golden Frog — best short documentary: Oasis
    Cin. Myriam Payette
    Dir. Justine Martin

    Directors’ Debuts Competition

    under the patronage of the Polish Filmmakers Association (SFP)

    Best Director’s Debut: Inshallah a Boy
    Cin. Kanamé Onoyama
    Dir. Amjad Al-Rasheed

    Cinematographers’ Debuts Competition

    under the patronage of the Polish Filmmakers Association (SFP)

    Best Cinematographer’s Debut: A Song Sung Blue
    Cin. Jiayue Hao
    Dir. Zihan Geng

    Music Videos Competition

    Best Music Video: Son Lux, “Undertow” 
    Cin. Drew Bienemann
    Dir. Alex Cook

    TV Series Competition

    Best Episode: The Offer: A Seat at the Table
    Cin. Salvatore Totino
    Dir. Dexter Fletcher

    Audience Award

    Poor Things
    cin. Robbie Ryan
    dir. Yorgos Lanthimos

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    Carolyn Giardina

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  • ‘Ferrari’ Cinematographer Erik Messerschmidt on Filming the Drama’s Intense Race Scenes

    ‘Ferrari’ Cinematographer Erik Messerschmidt on Filming the Drama’s Intense Race Scenes

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    There was significant pressure on the day in which director Michael Mann and his team filmed the violent car crash from the 1957 Mille Miglia race for his upcoming film Ferrari. “We only had one shot at it,” says cinematographer Erik Messerschmidt, explaining that the special effects team created and rigged a single self-driving car that could hit the desired speed, launch into the air and tumble before landing in a ditch. With no second take, they filmed the stunt with six cameras as a precautionary measure.

    Based on the biography Enzo Ferrari: The Man, the Cars, the Races, the Machine, the drama was filmed in and around the Italian city of Modena, the birthplace of the eponymous automaker, played in the film by Adam Driver. The movie traces Ferrari’s personal life as well as professional racing, including the brutal Mille Miglia crash that claimed the life of driver Alfonso de Portago, his navigator and 10 spectators.

    Erik Messerschmidt

    Jon Kopaloff/Getty Images

    Mann’s research for this scene involved race footage such as a fatal crash from Le Mans during the early ’50s. “It was a good reference for both the brutal reality of that type of crash but also the way that it would be covered. He wanted it to be a very observational camera, almost like a newsreel,” says Messerschmidt. “They had done weeks of testing with various cars, various weights, placing weights in different parts of the car to get the car to tumble in certain ways — hopefully to get it to land where we wanted it. Mike was quite specific, as he always is. He wanted the car to land in that ditch.”

    The Oscar-winning DP of Mank (who reteamed this year with David Fincher on the Netflix thriller The Killer) carefully chose to film the stunt at a specific time of day when the sun was low and he could get the right lighting. “We waited and waited and waited, and then we did the shot,” he says. “And it turned out the car landed exactly where the special effects team had predicted it would land. It was extraordinary. I’d never seen anything like it.”

    That practical stunt was combined with visual effects to place the spectators in the frame and complete the shot. On set, the team arranged dummies around the location “because Michael wanted to be very specific about the placement of the people,” says Messerschmidt. “The dummies are weighted, so they interact with the car in a very specific way, and they are an excellent reference for the visual effects team. We [also] shot plates with extras.”

    Overall, the visual style of Ferrari (which will be released Dec. 25 by Neon) included two distinct aesthetics — a painterly look for Ferrari’s personal story and a more aggressive camera for the racing. “Michael wanted that to be very visceral, very high energy, and he wanted to put the audience in the seat with the drivers,” the DP says. “We were also driving the cars extremely fast. He wanted the cars to go the speeds that the drivers were used to driving them in. And we did.”

    Ferrari is among the first movies lensed with Sony’s Venice 2 camera and prototypes of the Rialto 2 extension system that effectively detaches the sensor from the camera body to allow it to be placed in smaller spaces. “We put them all over the car,” says Messerschmidt. “We put them on the bumpers, on the front hood, on the wheel, handheld in the passenger seat, handheld outside the car on the biscuit rig. That particular system freed us up enormously, and it allowed us to be quite expressive with [the] camera in a way that I don’t think normally would be possible. Certainly not at that quality.”

    For scenes depicting Ferrari’s relationships with his wife Laura (Penélope Cruz) and mistress Lina (Shailene Woodley), Messerschmidt says Mann wanted something that was more “classically” photographed and lit, with a more “patient” camera and artistic look. “He was interested in emulating Italian Renaissance painting,” says the DP of Mann’s reference points. “He asked me to look at Caravaggio and that school of painting. Particularly the Venetian school is something that I adore,” Messerschmidt adds. “I put together a look book and sent back images — Tintoretto, Titian and Caravaggio, of course. And a little bit of Rembrandt, too … that style of classic Italian portraiture, with a mix of the Dutch masters in there as well. And that was really the direction we wanted to go with the personal story.” 

    FERRARI

    FERRARI

    Courtesy of Eros Hoagland/ Netflix

    This story first appeared in the Nov. 16 issue of The Hollywood Reporter magazine. Click here to subscribe.

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    Kimberly Nordyke

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  • ‘Barbie’ Collects Color Grading Honor at Camerimage

    ‘Barbie’ Collects Color Grading Honor at Camerimage

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    The candy-colored look of Barbie delivered colorist of Yvan Lucas of Company 3 the Filmlight Color Award for a theatrical feature.

    The third annual awards — organized by FilmLight, the maker of the Baselight color grading system, in collaboration with Camerimage — were presented Sunday at the EnergaCamerimage cinematography film festival in Toruń, Poland. From roughly 400 entries, honorees were selected by a jury chaired by Oscar-nominated cinematographer Lawrence Sher (Joker, Joker: Folie à Deux), who presented the awards.

    Of his award-winning work on Barbie, which was directed by Greta Greig and lensed by cinematographer Rodrigo Prieto, Lucas tells The Hollywood Reporter, “Rodrigo Prieto and I both like to work together on the overall look of a film before production starts. Creating LUTs (Look Up Tables) that define the way color and contrast will be affected helps Rodrigo, the director and the department heads all work towards a common goal.

    “For the majority of Barbie, meaning all scenes set in Barbie Land, we created a LUT that combined an overall film emulation, a three-strip Technicolor look and specific ways of interpreting hues such as red, pink and blue in a way that pushes them into the palette everyone now recognizes from the film,” he explains.

    Additional winners included Dirk Meier at D-Facto Motion for The Pimp: No F***ing Fairytale (Luden) season one (cinematographer Oskar Dahlsbakken), which topped the TV series/episodic category; Tim Masick at Company 3 for Zara Man, ‘SS23’ (cinematographer Philippe Le Sourd), in the commercial category; ­­freelance colorist Marina Starke for Mayyas ‘Horra’ (cinematography by Shadi Chaaban), which topped the music video category; and freelance colorist Cem Ozkilicci for Possession (cinematographer Oskar Dahlsbakken), in the Spotlight category for low-budget features.

    Accepting her award, Starke, who had two additional noms, received applause when she said she hoped to encourage more diversity in her field. Meier urged more colorists to attend Camerimage and “strengthen the collaboration between cinematographers and colorists even more.”

    “Representing our fantastic jury, I’d love to congratulate the winners of this year’s FilmLight Color Awards,” Sher said. “These diversely talented artists – and the inspiring work they helped craft – are a testament to the critical importance of the colorist in the art of filmmaking. It’s great to see these artists come from across the globe – proving that good work isn’t limited to huge budgets or big shops, but available to everyone with a good eye and refined skills.”

    The American Society of Cinematographers and the British Society of Cinematographers are among the organizations that support the Color Awards. “Colorists are great collaborators … Our closest relationship is with our colorist,” said cinematographer Stephen Lighthill, a member of the jury who is also the past president of the ASC. “We are happy at the ASC to continue to contribute to this event.”

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  • Curtain Rises on 31st Camerimage Cinematography Festival

    Curtain Rises on 31st Camerimage Cinematography Festival

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    Just weeks before the 31st edition of Poland’s EnergaCamerimage gets underway, there was a groundbreaking for the planned European Film Center Camerimage, a PLN 600 million (roughly ($144 million) cultural center that will be built in host city Toruń and used in future years as the international cinematography film festival’s main venue. Plans call for the center to include a main screening room with seating for roughly 1,500, as well as three 200-300-seat screening rooms, a soundstage for production and postproduction facilities.

    The new center underscores the growth of the festival, which has become a bellwether for what’s to come in the cinematography Oscar race. In three of the past four years, the winner of Camerimage’s Golden Frog has gone on to earn an Oscar nomination in cinematography, including 2019’s Joker and 2020’s Nomadland and 2022’s Tár.

    According to festival director Marek Żydowicz, more than 1,000 films were viewed during this year’s lineup selection process. “We start working on selections in March because there are so many titles we have to go through,” he said.

    This year’s program includes the main competition lineup: Killers of the Flower Moon, All of Us Strangers, Black Flies, El Condo, Ferrari, Filip, Lee, Maestro, The New Boy, Poor Things, Napoleon, Society of the Snow and The Zone of Interest. Cinematographer Mandy Walker (Elvis) is the main competition’s jury chair.

    Also during this year’s festival, which runs through Nov. 18, honorees include cinematographer Peter Biziou, who will accept the Lifetime Achievement Award; Krzysztof Zanussi, the Lifetime Achievement Award for a director; Adam Driver, the special award for an actor; Jon Kilik, the award for a producer with unique visual sensitivity; the Brothers Quay, the award for directors with unique visual sensitivity; cinematographer Peter Zeitlinger and director Werner Herzog, the cinematographer/director duo award; Jenny Beavan, a special award for achievements in costume design; and Floria Sigismondi, the award for directing achievements in music videos.

    The program also includes a celebration of Walt Disney Animation Studios’ centennial, with screenings of classics such as Beauty and the Beast and The Lion King.

    Sean Penn will personally present the Ukraine war doc Superpower, which he directed with Aaron Kaufman. Producer Billy Smith will also be on hand at Camerimage.

    Meanwhile, Academy of Motion Picture Arts and Sciences’ CEO Bill Kramer will visit Camerimage for the first time this year. He’s expected to speak about new constructions to support culture, from the Academy Museum in Los Angeles to the planned Camerimage Center.

    A dedication of the new Camerimage center is scheduled in conjunction with this year’s festival, with expected guests including three-time Oscar-winning cinematographer Vittorio Storaro, who was among those who have been involved in the event since its 1993 debut.

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  • Cinematographer John Bailey Remembered During Camerimage Opening Ceremony

    Cinematographer John Bailey Remembered During Camerimage Opening Ceremony

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    There was an emotional start to the 31st EnergaCamerimage cinematography film festival as news spread that John Bailey — the cinematographer behind films such as Ordinary People, The Big Chill and As Good As It Gets, and former president of the Academy of Motion Picture Arts and Sciences — died Friday at the age of 81.

    During Saturday’s opening ceremony, festival director Marek Żydowicz gave a heartfelt tribute to the DP as he opened the festival, which is held annually in Toruń, Poland. “It is very difficult for me to talk about it,” he said, introducing a black-and-while clip featuring portions of Bailey’s 2019 speech when he accepted the Camerimage Lifetime Achievement Award. Bailey and his wife, Oscar-nominated editor Carol Littleton, had attended the festival on multiple occasions. Żydowicz also emphasized the bond between Camerimage and the Motion Picture Academy that Bailey helped to strengthen. He said, “John, you will forever be in our hearts.”

    Oscar-nominated cinematographer Lawrence Sher also paid tribute to Bailey when he took the stage, adding, “as we all know, life is precious, hug each other.”

    During the ceremony, Adam Driver accepted the special award for an actor. He called Camerimage a “cool” festival that “really highlights cinematographers.” He recognized some of those that he has worked with that will be in attendance this week, among them Mandy Walker, Rodrigo Prieto, Salvatore Totino, Robbie Ryan, and Erik Messerschimidt — the DP of his latest film, Ferrari, which will unspool this week as part of the main competition.

    British cinematographer Peter Biziou received a standing ovation as he accepted the Lifetime Achievement Award. The DP — who lensed films including Mississippi Burning, for which he was Oscar- and BAFTA-nominated, The Truman Show and In The Name of the Father — remembered learning at an early age that “we can make magic” with film, and he stated that he shares the award with his dedicated crews.

    Jon Kilik — whose string of producing credits includes Babel, for which he earned a best picture Oscar nom, The Hunger Games and Malcolm X — said he was grateful for the collaborations he has shared with cinematographers, as he accepted the award for a producer with unique visual sensitivity. He admitted, “It’s a time now where I think the producer credit has gotten a bit monetized; it’s transactional. … [But] it’s something I really have a lot of pride in.”

    The Brothers Quay received the award for directors with unique visual sensitivity.

    Saturday is Poland’s National Independence Day, which was recognized during the ceremony. Toruń Mayor Michał Zaleski also expressed his hopes for peace amid world events.

    Following the ceremony, the festival screened Poor Things as its opening night film, which is also in this week’s main competition. With the SAG-AFTRA strike over, Willem Defoe was on hand to join cinematographer Robbie Ryan for a Q&A following the screening.

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    Carolyn Giardina

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