After setting her directorial debut Saint Maud in a fading English seaside town, London-born filmmaker Rose Glass turns her gaze toward the American southwest for the neo-noir follow-up Love Lies Bleeding. Set in 1989 and shot in New Mexico by Maud cinematographer Ben Fordesman, the film follows the violent repercussions when a nomadic bodybuilder (Katy O’Brian) falls for a small-town gym manager (Kristen Stewart) with a family full of criminals (including gun-running dad Ed Harris). With the A24 movie out today on VOD, Blu-ray and UHD following its theatrical run, Fordesman spoke to Filmmaker about emulating film on digital, pick-ups […]

Dune: Part Two picks up directly following the events of its predecessor, with young Paul Atreides (Timothée Chalamet) taken in by the Fremen after being marooned in the desert of Arrakis. However, cinematographer Greig Fraser was not content to merely continue where he left off. After winning an Oscar for the first film, Fraser shuffled his tool bag by adding the Alexa 65, an assortment of colorful new glass and an infrared sequence set in a gladiator arena on Giedi Prime. It’s not surprising considering Fraser’s history of experimentation, which includes pioneering virtual production work on The Mandalorian and reintroducing […]

In The Last Stop in Yuma County, an empty pump at an isolated desert gas station strands a collection of characters (including a pair of bank robbers and knife salesman Jim Cummings) at the adjoining roadside diner. Written around the standing sets available at Four Aces Movie Ranch in Palmdale, California, the feature debut from director Francis Galluppi was partially funded by the sale of producer James Claeys’ house. That provided enough budget for a 20-day shooting schedule, a cast of familiar genre faces (including Richard Brake, Gene Jones and Barbara Crampton), a few epic needle drops and one talented […]

New York-based Argentinian director Matiás Piñeiro’s work is without a doubt, a celebration of intertextuality. After continuously exploring the female roles in Shakespeare’s comedies from 2011’s Rosalinda up until 2020’s Isabella, he was drawn to a text which seemed impenetrable, admitting he had no clue how to film a poetic dialogue. In order to collect the shots for the adaptation-film-collage that would become You Burn Me, the filmmaker traveled between New York and San Sebastian (where he teaches at the EQZE film school, Elías Querejeta Zine Eskola), which gave him the possibility to “develop the material, watch it and think […]

I typically have two problems with found footage horror movies. First, it’s often hard to believe the characters wouldn’t simply drop their cameras once the body count begins. Just as the haunted house movie must present a sufficiently logical reason for the inhabitants to remain once the voices start whispering “get out,” the found footage horror movie must posit an acceptable rationale for why the cameras keep rolling. Second, the subgenre’s veneer of reality often means some of filmmaking’s most effective tools—score, editing, composition—are sacrificed on the altar of verisimilitude. The premise of Late Night with the Devil alleviates both […]

In the first season of Disney+’s Percy Jackson and the Olympians, the titular teenaged demigod and his compatriots travel across the country, with stops from St. Louis to Las Vegas, on a mission to prevent war among the Greek gods. However, cinematographer Pierre Gill and his crew never left the vicinity of Vancouver. Percy Jackson is the first show to use Industrial Light & Magic’s new 20,000-square-foot StageCraft Volume in the Canadian city. Gill estimates 30 percent of his episodes were shot in the virtual production environment on its 95-foot LED wall. With the show now streaming in its entirety […]