CONTENTS
PRODUCTIONS 6/ STRANGER THINGS As the dust settles on the gang’s last adventure, DOP Caleb Heymann shares how he kept the sci-fi spectacle grounded in reality 18/ AVATAR: FIRE & ASH Russell Carpenter, ASC, talks virtual scouting, performance capture and lighting Pandora in the latest instalment Alicia Robbins lifts the curtain on the visual rules and camera craft behind the show’s new chapter 42/ SENTIMENTAL VALUE Kasper Tuxen reunites with director Joachim Trier for this awards season darling, favouring practical lighting and handheld intimacy TECH & TECHNIQUE 12/ MASTERING MONOCHROME DOPs Phedon Papamichael, Edu Grau, David Chambille and Sam Levy talk of the Avatar series 32/ BRIDGERTON
black & white cinematography 50/ LONG LIVE CELLULOID
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With shot-on-film movies dominating awards season again, we meet the UK labs combining traditional processing with modern digital workflows
Editor Nicola surrenders to the icy beauty of this sinister fairytale DEF RECOMMENDS: THE ICE TOWER (2025)
I caught this film at Cambridge Film Festival, and it’s definitely one that lingered long after the lights came up. Hypnotic and hallucinatory, it follows runaway teen Jeanne and her mutually obsessive relationship with movie star Cristina van der Berg. Directed by Lucile Hadžihalilović, the film unfolds as a film-within-the-film: a production of The Snow Queen , on which Jeanne inveigles herself into a key role. The boundaries between the film world and
the real world are slippery, with subtle visual cues (a change of lenses, a touch more grain) signalling the switch. Jonathan Ricquebourg’s cinematography leans into languorous long takes, piercing light and menacing shadows; at one point shooting through a crystal lifted from the Snow Queen’s costume to create a kaleidoscopic image. The film sparkles with dreamlike, glacial beauty but be warned, this fairytale has a sinister underbelly...
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