We Met in Virtual Reality is a documentary shot, as the name suggests, within virtual reality. Director Joe Hunting trains his camera on a range of activities, including pool games, dances and educational classes to tell the stories of a number of couples who met in VR during the COVID-19 lockdown. Hunting, who directed, edited, and shot the film, spoke about his challenges and goals as cinematographer. 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? Hunting: I was a self […]

In Phyllis Nagy’s directorial debut Call Jane, Joy’s pregnancy leads to a life-threatening condition. When the medical establishment refuses to help, Joy turns to a clandestine organization called the “Janes” that is based on the real-life Jane Collective. The period piece is heavy on sequence shots, which both posed challenges and enabled the creativity of DP Greta Zozula, who discusses the film below. Filmmaker: How and why did you wind up being the cinematographer of your film? Zozula: I was introduced to Phyllis in the early part of last year. The subject matter was important and I was drawn to the […]

Shot on both vacant streets and luxury apartments in Bucharest, Watcher examines a woman uncertain whether to trust her instincts as she begins to suspect that someone—possibly a neighbor—is stalking her. As DP Benjamin Kirk explains, the camera embodies the state of mind of Julia, heightening the audience’s sense of peril, and films by David Fincher and Roman Polanski were touchstones for both Kirk and director Chloe Okuno. 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? Kirk: Director Chloe Okuno and […]

Like Columbus before it, Kogonada’s After Yang tackles its heady subject matter—including, in this case, a climate catastrophe and existential questions about the nature of humanity and memory that arise from its sci-fi setting—only obliquely, through composition and framing. Cinematographer Benjamin Loeb explained the significance of emptiness and space to cinema and the love he and Kogonada share for Ozu. 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? Loeb: Honestly, I believe I was the unicorn of the interviews and came in very […]

In Master, a student at the fictional Ancaster College, situated on land once used for gallows poles during the Salem witch trials, begins to suspect that the school is haunted and gradually uncovers the secrets behind its progressive veneer. Although the film is loaded with social critique, it operates as a horror film, which allowed cinematographer Charlotte Hornsby room to comfortably deviate from realism in crafting the film’s look. Below, she discusses the influence of filmmakers like Ingmar Bergman and Joanna Hogg and how the film’s aesthetic changes as the narrative unravels. Filmmaker: How and why did you wind up being […]

In 892, the debut film by Aby Damaris Corbin, a desperate former US Marine, driven nearly to homelessness by lack of resources and a stifling bureaucracy, decides to take hostages at a bank—but not because he wants money. What he wants instead is for people to hear his story and acknowledge what he has been through. Much of the film takes place in a single location where artificial lighting was not possible; cinematographer Doug Emmett explains how he was able to overcome these challenges and give the film a realistic and consistent look. Filmmaker: How and why did you wind up […]

In 1989, filmmaker Christine Choy was hired to shoot interview footage of dissidents from the Tiananmen Square protests, but she never had the chance to show anyone involved the footage. More than thirty years later, Choy embarks on transcontinental travel to show leaders of the movement that footage, and first-time filmmakers Ben Klein and Violet Columbus and cinematographer Connor Smith were present to capture the journey. Below, Smith discusses finding the shooting style right for the film and what it’s like to capture another filmmaker with his camera. Filmmaker: How and why did you wind up being the cinematographer of […]

A Love Song depicts the reconnection and the romance of childhood sweethearts, decades removed from their last meeting. Both widowed now, they use the meeting to reflect on life, love, and loss. It all takes place in an American West that is neither rugged like the films of yesteryear nor depleted like more more recent revisionist takes, but quiet and expansive. Cinematographer Herrera Salcedo explains why 16mm was the right format to capture both characters and the landscapes and how he used the camera to bring the characters to life. Filmmaker: How and why did you wind up being the […]

Five weeks is not an unusually truncated preproduction period for a cinematographer on a modestly budgeted independent film like Passing. However, the interval between landing the gig and starting that work is typically longer than the time needed to pack a suitcase. That’s the extent of the notice Spanish DP Edu Grau had before hopping aboard the project—and a flight to New York—after a last-minute crew change left Passing director Rebecca Hall without a cinematographer on the eve of prep. “Rebecca called me on a Saturday, and I jumped on a plane the next day to start prepping the movie,” […]

According to their official credits, Being the Ricardos is the first time Aaron Sorkin has directed with Jeff Cronenweth behind the camera. Unofficially, that collaboration began a decade ago with a shot of an envelope. On the final day of production on 2010’s The Social Network—which earned Sorkin an Oscar for best screenplay and Cronenweth a cinematography nomination—director David Fincher dipped before the final shot to avoid the emotional wrap goodbyes, leaving Sorkin and Cronenweth in charge of the last insert.  “It was the shot where [Mark Zuckerberg’s] partner is accepted into the social club and there’s an envelope slid […]