I Am Love was developed by Guadagnino and Swinton over seven years. It was shot on practical locations in Milan, San Remo and the village of Castel Vittorio, near the French border. The filmmakers’ visual touchstones included Gustav Courbet, Russian Constructivist Kazimir Malevich and Italian painter Giovanni Boldini. "We wanted the feel to be rich and majestic but not luxe,” says Le Saux. “We didn’t want something that would look like a commercial, with too much light, too much brilliance.” “From the beginning, we talked about the two worlds,” recalls Le Saux. “The world of the Recchis is strict, with more contrast, wide angles and a colder feel in the characters’ relationships. For the countryside, Luca wanted natural light, longer lenses, more close-ups and no depth-of-field, and we strove to be open to catching everything that happened on set.” The Villa Necchi Campiglio was designed by Milanese architect Piero Portaluppi and is now a museum. The Filmmakers had to use natural ...

  Yorgos Lanthimos is the Oscar-nominated director of "The Lobster" and "Dogtooth". His movies generally deal with characters pushing the boundaries of the systems around them. In "Lobster" he envisions a world in which being single is illegal and lawbreakers are transformed into animals of their choice. While that may sound absurd, it’s also typical for Lanthimos. "So this film, for me, was mainly about having a certain kind of voyeuristic look to it.  We decided to just try and keep the camera as much as away from the actors as possible and not have it in their face.  Usually we had the camera either lower or higher than their eye lines. We used long lenses, and a few times very wide-angle lenses—extreme choices. We created a visual language that we felt was particular to this film."  Thimios Bakatakis’ cinematography captures through deep-focus shots, muffled sepia-like colours and wide angle shots the sombre mood and the lugubrious atmosphere...

  “High Life” portrays a different sort of expanse—the vastness of outer space—resulting in an absence of sound that may seem emptier yet is no less nuanced and revealing. Cinematographer Yorick Le Seaux talked about his collaboration with Claire Denis and how her ideas and insticts make her a great director. "Claire usually doesn’t like to move the camera much. Her ideas and instincts are what make her a great director. While shooting High Life, she would walk in the middle of the set as an actor would to feel the scene from inside. She can feel where the energy is, and where the best camera angles will be. She lives from the inside of a scene, so whenever she would say certain words to me, or give me even the slightest indication that I would have to follow her lead, I would." Claire wanted the film's yellow-tinged lighting to look organic, so the last 3 to 5 minutes of the film were shot in 35mm. "Our scenes that take place in small rooms and small beds called for...

  The visual style created for Arrival by director Denis Villeneuve and cinematographer Bradford Young was intended as "dirty sci-fi." According to Villeneuve, the plan was for the events of the story to feel like “a bad Tuesday morning, like when you were a kid on the school bus on a rainy day and you’d dream while looking out the window at the clouds.” “I was looking for a cinematographer with a very precise sensibility towards natural light, I wanted the movie to have strong roots in realism. I wanted a cinematographer who would not be afraid to deal with intimacy. It’s a very specific sensibility that I felt in Bradford’s previous work.” Bradford Young swings between cool and warm tones to emphasize the emotions Louise is dealing with “I went for cooler colors when I wanted Amy to feel worn down. We tried to pull back on that a little bit, but then Denis stopped me in the color grading and told me not to be so concerned about skin tone and let her be pasty, let her exist ...

  Filmgazing was created with the intend to explore the remarkable world of cinema and especially the extraordinary filmaking intuition that lies behind the camera. With a substantial quriosity for the creation process and all-things-backstage, my focus point is the collaboration between filmakers and cinematographers. What to expect? Groundbreaking acclaimed scene screenshots of personal and general preference, directors on spotlight, particularly uncommon watchlist suggestions, monthly themes and a load of amusing posts. More to follow soon, Filianna