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“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 a small, near-invisible camera, so we used the ALEXA SXT Plus to shoot them. But because Claire believed strongly that our yellow-tinged lighting should look “alive”—organic, rather than digital or rendered with special effects—it was clear to her that the only way to convey that would be with the grain of 35mm. So, for the last three to five minutes of the film, during a moment in which our characters exit the spaceship inside of a little capsule, we changed formats again and shot it in 35mm.



source moviemaker, artnews

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