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“A Constant Atmosphere of Uncertainty and Caution”: DPs Anas Saeed, Ibrahim Snoopy & Phil Cox on Khartoum

Two-shot of young Sudanese boys comparing bags over their shoulders.Still from Khartoum. Courtesy of Sundance Institute.

Anas Saeed, Rawia Alhag, Ibrahim Snoopy, and Timeea Ahmed are among the 10 million+ people who have been displaced by the ongoing Sudanese Civil War. In Khartoum, they work with British director Phil Cox and five displaced Sudanese to reenact their stories.

The film combines studio recreations with documentary footage shot in Sudan. Below, Snoopy, Saeed, and Cox, all of whom served as cinematographers, talk both about the logistical difficulties and the aesthetic goals of Khartoum.

See all responses to our annual Sundance cinematographer interviews here.

Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job?

Snoopy: In Sudan I work both as a director and cinematographer, so when the opportunity came to apply for directing and working on one of the stories of Khartoum, I knew both roles were important.  I knew I would have to shoot and work across other films, and I think my multi-skill ability, so important in indie documentary, is what stood out for the producers. I have the most experience in lighting and studio work, and we all decided on green screen, so I led on this. 

Saeed: My original camerawork before this film was covering the revolution and street protests, including counter military oppression. This I filmed day-to-day on iPhone, and this reality was needed in Khartoum, so I became the go-to person! Also, I had a fake/pretend yellow taxi I used to drive about in—pretending to be a taxi driver when, really, I was looking for good shots. The team thought this very useful!

Cox: I didn’t intend to shoot at the beginning, but in the end due to necessity I covered a lot of the street protests in Anas’s secret taxi, and I also used a drone, as being the only white person in a protest with snipers is not a good idea. I also found myself shooting in Cairo, as the filmmakers could not travel to cover some of these storylines.

Filmmaker: What were your artistic goals on this film, and how did you realize them? How did you want your cinematography to enhance the film’s storytelling and treatment of its characters?

Snoopy: Our artistic goal was to immerse the audience deeply into the world of the participants, allowing them to experience life through their perspectives. The film focuses on five characters, each with unique stories and challenges. Cinematographically, we aimed to let the audience enter a surreal world as much as a harsh reality of the street. We wanted dreams and poetry alongside dirt and protests.

Cox: I think we, as a visual team, strived for a sensory experience over information. The style approach was a real mix from verité street to controlled studio work.

Saeed: For me it was about being as close as possible. Low light was a real problem in verité situations and shooting on a phone, but we believed grain and such would not affect the story, but give it realism. 

Snoopy: To achieve this, we employed a variety of techniques. Intimate framing and handheld camera movements brought the audience physically closer to the characters, creating a sense of proximity and immediacy. The choice of locations and shot compositions was carefully designed to reflect the nuances of their environments, further enhancing the storytelling.

Filmmaker: Were there any specific influences on your cinematography, whether they be other films, or visual art, of photography, or something else?

Snoopy: We were influenced by all poetic non-verbal and lyrical cinema.  This approach allowed us to follow our characters organically, letting them lead the camera and providing an authentic, observational perspective. Additionally, we drew inspiration from photography and visual art that prioritizes candid and intimate compositions, enabling us to frame scenes in a way that felt raw and genuine. This style not only enhanced the realism of the film but also allowed the audience to feel like silent participants, experiencing the participants’ stories firsthand.

Filmmaker: What were the biggest challenges posed by production to those goals?

Snoopy: The biggest challenge was shooting in the participants’ environments, which were primarily outdoor settings like streets and public spaces often full of danger and the military.

Cox:  Not getting shot in the head. Which happened actually. I learnt that one can run fast with just a phone in hand, but one cannot outrun a rubber bullet from a sniper.

Saeed: Yes, not getting killed or maimed! But also building trust with people around shooting locations was essential so they knew we were not spies or recording them. We took time to engage with people in the area, explaining our intentions and the purpose of the project, which helped alleviate suspicion and create a more cooperative atmosphere. Despite these efforts, balancing authenticity with the practicalities of production remained a delicate task throughout.

Filmmaker: What camera did you shoot on? Why did you choose the camera that you did? What lenses did you use?

Snoopy: We primarily used iPhones and, to a lesser extent, a Sony A7 III for filming. Initially, we were provided with iPhones as our main tools, which posed a challenge since they lacked the professional capabilities of high-end cameras. However, we quickly turned this limitation into an advantage. Using iPhones allowed us to shoot with the participants in a more relaxed and natural way, as the smaller, less intrusive device didn’t intimidate or distract them like a larger camera might.

This approach enabled us to establish greater intimacy with the participants. The phone’s unassuming nature helped foster a sense of trust and comfort, allowing us to capture authentic and spontaneous moments without disrupting their daily lives. Then we used the Sony A7 III mainly for the studio shots, where it was needed for a specific quality to render the green screen and achieve a more professional look.

Filmmaker: Describe your approach to lighting.

Snoopy: We relied solely on natural lighting to capture a raw and authentic imagery that reflects the reality of Sudan. By embracing natural sunlight for outdoor scenes and the warm, often dim glow of indoor house lamps, we aimed to create a visual language that felt grounded and unfiltered. This approach allowed us to present an honest and intimate portrayal of the environment, highlighting a context that is often overlooked or underrepresented.

Our use of natural light also reinforced the documentary’s aesthetic, enhancing the sense of realism and immediacy. It was important to us that the lighting not only complemented the story but also respected the genuine atmosphere of the locations and the lives of our participants.

Filmmaker: What was the most difficult scene to realize and why? And how did you do it?

Snoopy: Many scenes were challenging to realize due to the political tension in the country, which created a constant atmosphere of uncertainty and caution. Among the most difficult were the market scenes. These locations were vibrant and integral to the story, but they also posed significant challenges. We faced frequent harassment from individuals wary of being filmed, and the unpredictability of the environment often led to interruptions and delays. To navigate these difficulties, we adopted a discreet approach to filming. We relied on working quickly to capture the essence of the scenes without drawing too much attention with locals.

Cox: I hate using drones but had to use them a lot to capture protests and riots. I feel so out of control and distant and prefer to be close and in control.

Saeed: I found the studio work very new—so controlled and also slow but I learnt a lot and it was exciting.

Filmmaker: Finally, describe the finishing of the film. How much of your look was “baked in” versus realized in the DI?

Snoopy: Most of the film’s look was “baked in,” as we relied heavily on improvisation to adapt to the unpredictable circumstances we faced during production. This approach allowed us to make creative decisions on the spot, ensuring the scenes aligned with our vision despite the challenges. By focusing on natural lighting and real-time adjustments, we were able to achieve a raw and authentic aesthetic directly during filming.

TECH BOX

Film Title: Khartoum
Camera: iPhone 14 Pro/Sony A7 III
Lenses: 24-70mm
Lighting: Natural lighting + studio lighting

 

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