English – Manaki Brothers

Alice Brooks: I was a mentor to a high school student who became a wonderful cinematographer

Seth Emmons, director of communications at Leitz, moderated the mentoring panel at the Manaki Cinema today, which was attended by cinematographers Fabian Wagner, Agnieszka Szeliga, Alice Brooks and Teresa Medina. Wagner noted that he had mentored young people many times before, for the needs of various organizations.

“I want to be there for them as long as they need me. It`s not just about being a mentor, but also a friend. I mentor beginners with different backgrounds and ambitions. Anyone can apply, whether they have experience or not. The first question I ask the candidate is, what does he want to gain from this, so some say they want to be directors of photography, others to be producers or something else. I work with each individual, so I can focus on each of them“, Wagner said.

Cinematographer Medina said she mentors women cinematographers in Spain. She has built a team with them and she constantly supports them while studying.

„I have to say that sometimes people think that their mentor should get them a job. But as a mentor, I am not obliged to do that. Another important thing is that it is not our obligation to find them, but they should find us if they need us as mentors. We are here for them“, Medina said.

Alice Brooks shared an interesting example, stating that she mentored a 17-year-old high school boy, and his parents knew that he was very creative.

„I talked to the boy, he asked me if I wanted to see his music video. I was shocked by what he had done, it was extraordinary. At that time I was working on small projects and he was coming with me, helping me. Now he`s shooting himself, we shot a lot of commercials this summer, he worked with me. That relationship with that young man is very dear to me, I am proud of him. It is a beautiful story about how a high school student grew into a wonderful cinematographer. That`s why I think mentoring is very important“, Brooks noted.

Cinematographer Agnieszka Szeliga said that in her mentoring, she strives to create a connection with the people she mentors, to be as a family so that they can build success together.

„There is no single formula. We need to understand the needs of different young people. Everyone has different affinities, desires. Our applicants must have at least some filming experience, because they are immediately given duties. It is a program that lasts three weeks, a period in which they build their self-confidence and learn many new things“, Szeliga stressed on the panel.

Kardalevski: The situation with the Macedonian film is probably the most difficult ever

Yoshio Kitagawa, a Japanese cinematographer, whose film „Evil Does Not Exist“ was screened on „Manaki Brothers“ yesterday within the Official Camera 300 selection, spoke at today`s press conference about his experiences with director Ryusuke Hamaguchi, with whom he had already filmed „Happy Hour3.

Kitagawa noted that they had collaborated making short films and that he was happy to have the opportunity to work with him after the great success of the film „Drive My Car“.

“With this film he became very popular in Japan, but also abroad, but for the film „Evil does not exist“ he did not have a very large budget. The composer with whom they collaborated on the film „Drive My Car“ offered to visualize her music at the film festival in Ghent, Ryusuke accepted it, and then I also joined and we began the collaboration”, Kitagawa said.

Takumi and his daughter Hana live in a village near Tokyo. Like their ancestors, they live modest lives that follow the cycles and order of nature. One day, when representatives of a company arrive from Tokyo to present a plan to build a glamorous camp ("glamp") that will offer the residents of the city the opportunity for a luxurious „escape to nature“, it becomes clear that the project will harm the local water supply.

„Actors are not professionals and they perfectly present the idea that not everything is black and white, and that evil sometimes exists and sometimes does not. The film makes the audience thinks about what nature means to us and also makes them come to the cinemas”, Kitagawa said, thanking for the wonderful experience of being part of the „Manaki Brothers“ program.

In the European Lo-Sap program, yesterday the audience could see the film „Run“ by Kazakh cinematographer Azamat Dulatov.

The film depicts Kazakhstan during the Soviet Union, in the 1930s, a time marked by the rapid collectivization of farms by Stalin and by the most brutal famine the modern world has ever seen. Local undertaker Isatai must face a difficult choice.

„Before shooting the film, I had already worked on music videos and commercials with the director and we constantly talked about making a film and this time we decided to do it. We made preparations with the script, the actors, we searched for locations and after we were ready the filming began. Because of the good preparation, the shooting went very smoothly”, Dulatov said at today`s press conference, and stressed that his education helped him a lot in mastering the presentation of the scenes filmed in the steppes, because, as he said, he graduated in fine arts.

Cinematographer Yoshiko Takano, through the camera, told an interesting story with the documentary film „Gama“.

In Okinawa, the place where intense land battles took place towards the end of World War II, there are many natural caves called „GAMA“. Mitsuo Matsunaga collects remnants of the Battle of Okinawa and describes how the civilians who took part in the war took refuge in GAMA.

„We tried to tell the history of GAMA in Okinawa. GAMA caves are not known to many in Japan, but in this way through the film people will learn more about these shelters. We brought visual poetry into the documentary, and the viewer follows the events through the eyes of the girl”, said Takano, who pointed out that they were filming in November which is the most favorable period for filming because it is very warm in that area.

Several films were screened in the short program yesterday. At today`s press conference, the cinematographers Dushan Kardalevski, Kinan Massarani and Peter Kalonji spoke about their experiences from cooperating with the directors.

“On the one hand, it is difficult to work with a director, in my case it is my sister, but on the other hand, it is easier for some things. She is very precise, and when she prepares the film she comes with a book and immediately says what she wants the shooting to look like, so it is simple to work this way”, said Kardalevski, who is the cinematographer of the film „State of Mind“ directed by Aleksandra Kardalevska. The film talks about a chance encounter between a photographer and a mysterious girl, which leads to a night of shared intimacy and connection. But the new day reveals a hidden truth that casts a shadow over their romance.

„This was the first time I shot with a Sony camera, and I used light from nearby outlets. I also bought filters, but due to the high air pollution while we were filming, there was no need to use them“, said Kardalevski, who underlined that they filmed one afternoon and one night.

Answering a journalist`s question, Kardalevski pointed out that the situation in the Macedonian film is perhaps the most difficult than ever, but that they hope that better times will come. Also difficult is the situation with co-productions for both feature-length and short films, but if you have a good project, a good script, it is still possible to realize it.

Kinan Massarani, the cinematographer of the film „Good Boy“, which is actually the first film by director Paul Vincent de Lestrade, said that there was no need to guide Paul as more experienced, because Paul was very sure in himself, had already made a film as a student and there was no need for help.

The film tells the story of Maxim who is sixteen. As a hopeful swimmer, he is on his way to enroll in a sports study program. One afternoon, police interrupted the training to talk to his coach, who has been accused of sexual abuse by one of the club`s young swimmers.

Peter Kalonji, on the other hand knows the director Rebeka Rummel from their school days and had no difficulties in cooperation.

The movie „Drifting Apart“ tells the story of Vera who goes to the Soviet resort to join her astronaut husband, Alexei. But the summer idyll is disturbed by her suspecting her husband, which secretly embitters her soul.

The Powerful Women of „Manaki“: I was raised by a single mother who taught me not to give up on my dreams

“Whenever we talk about female cinematographers or directors, we can’t avoid the question of motherhood, as well as how we as women manage to take care of the home, the family. But where are the men in this story, they are also responsible for all this”. This was noted at today`s event „The Powerful Women of ‘Manaki’“ held in the Bitola cinema, where women cinematographers from different countries spoke. Inspiring life stories were shared by Alice Brooks, Nancy Schreiber, Agnieska Szeliga, Clarie Pijman, Brigit Gudjonsdottir, Christina Noak, Teresa Medina and Oona Menges.

„My family was very poor. When I was young, I had two dreams, one – to become a cinematographer and it came true for me, I grew up on a set. My other dream was to have a child, I wanted to be a mother. I have a daughter who is the joy of my life and who now comes with me everywhere. So work to make your dreams come true“, said Alice Brooks.

Nancy Schreiber said she was a graduate psychologist, but that she didn`t want to do this job.

“I started working as an electrician on a set, working with the director, and I didn`t know anything about it. It`s not easy for women in this world. But I am grateful that I started as an electrician, and later I went to film school, and here I am after many decades, and today I am very happy when I am making a film“, Schreiber said.

Agnieska Szeliga and Teresa Medina stressed that they had to be creative in the face of difficulties in their professional lives, which were filled with men. They sent a message to young people to always believe in themselves and not to stop dreaming.

Clarie Pijman said that she chose to go to film school even though her parents were doctors.

„I first started assisting on sets. I wondered how I could start recording when this is a male profession. I made my first film with borrowed money. I don't regret anything and I still want to work cinematography“, she said.

For Christina Novak`s parents, film school was a joke, given the fact that their profession was completely different.

„We all have different stories, but we have the same energy with which we respect each other. We are like a family“, Novak said.

Cinematographer Brigit Gudjonsdottir shared that she was raised by a single mother.

„My mother worked from dawn to dusk. She was an example for me and a person whose values I followed through life. Later I became a mother as well, so I took my daughter to sets. I started working as an assistant in this industry. When I saw that Nancy Schreiber was a cinematographer, a and then Alice, I thought, when these women can do this and make wonderful films, so can I“, Brigit said.

Onna Menges wanted to work initially as a veterinarian, but later had the opportunity to work on a film, where her professional story began.

“You know, when you have to survive and take care of your child, you`re going to work bloody hard to succeed. Whenever I have difficult moments in my life or on a set, I am reminded that this is what makes me grow and mature and that is why I am grateful for it“, Menges said.

Some of the cinematographers also talked about mental health, and several of them do additional back up work, in case they do not work on film projects. Thus, Brigit said that she is a freelance teacher who teaches when she is not working on a film.

„The most stressful time for me is when I am not working between films. You know, we have to eat and pay bills every day. I go to a mental health support group, I do yoga and find other ways to cope with stress”, Medina said.

Pablo Lozano and Dušan Husár on „Manaki Brothers“: Miracles can happen anywhere

Pablo Lozano and Dušan Husár, are the cinematographers of the films „Chronicles of a Wandering Saint“ from the official selection Camera 300 and „Solitude“, which was screened last night in the European Lo-Cap program. In one Argentinian town, a pious but ambitious woman, realizes that if she invents a miracle, she can be proclaimed to be a saint. But before announcing that the miracle

had happened, a shocking event showed her the hidden magic of her world, forcing her to reconsider everything she had taken for granted.

„I`m happy that I came across such a script, it was very interesting to think and process all that“, said Lozano, who said that he and the director had known each other since school days and that they had also made short films together. Everyone in the village was excited while the film was being shot, the church was very interesting and there were not many churches like that.

„Miracles can happen anywhere, also in very small villages not only in Argentina, but anywhere in the world. We were lucky to find that abandoned train station to shoot there, and the statue that disappears in the film is really gone for a long time, it`s not fiction“, Lozano said and added that the film is already being screened for six weeks in cinemas in Argentina.

Within the new selection of European films from countries with low production capacity, which will compete for the Golden European Camera Award at 45th ICFF „Manaki Brothers“ today Dusan Husar, the cinematographer of the film „Solitude“ talked about his experience while filming the film.

„Iceland was a wonderful location, we could shoot everywhere around us, which was fascinating for us, and for them it was something usual, so it was a challenge for me to find calm and peaceful places that would be real for them and for us, without

focusing only on the most beautiful places“, Husar said.

The film „Solitude“ tells the story of how the state forces a farmer living a peaceful life in the countryside to sell his home, leave everything behind and move to the capital, where he befriends a 10-year-old newspaper delivery boy.

Mitja Ličen: I loved strong colors, the Alexa 35 camera was a big hit on the set of „Family Therapy“

Mitja Ličen, director of photography from Slovenia, spoke today at a panel titled „From Tribeca to Manaki, behind the scenes of „Family Therapy“, filmed with ALEXA 35“ at the Manaki cinema in Bitola. Together with Chiara Catalla from ARRI, the German manufacturer of film equipment, they talked about the equipment and lighting used on the sets during the filming. The Slovenian dark comedy-drama, about a seemingly perfect family life, was selected to be supported by the ARRI International Support Program.

The audience was shown several scenes from „Family Therapy“, which the cinematographer commented on talking about what happened on sets.

„In the scene where the refugee family appears at the door, we put lights on the ends of the door with additional light above them to achieve the effect I wanted. When there`s a confrontation between the family and the refugees, it`s very important what the light is“, Ličen said.

He also commented on the scene in which Julien is in the shower, talking about the light in the scene coming from outside the bathroom.

„What`s interesting about this scene is that the young people have an open relationship. Agata enters and provokes Julien, looking for proof that they are indeed brother and sister. First they are separated by the glass from the shower cubicle, and then at the end of the scene they are at the same side“, Ličen said.

In the scene where the parents are having dinner with the children, Ličen said that a static camera was used that slowly began to move as the conversation unraveled and the relationship between the parents and the children was becoming weaker. He said he likes strong images, i.e. images in strong colors, so for that purpose, the Alexa 35 camera was a real hit.

Otherwise, some of the more notable projects in which Ličen has participated are „The Miner“ (2017), „Who`s Afraid of the Big Black Wolf?“ (2012) and „History of Love“ (2018). For „Family Therapy“, he received support from the international support program of ARRI, the German manufacturer of film equipment.

ARRI, the Munich-based company founded in 1917, is the Silver Partner of the 45 th edition of the „Manaki Brothers“ International Cinematographers Film Festival, supporting the cutting-edge creative expression in world cinematography. With its long tradition and innovations in the film industry, ARRI remains a trusted partner to professionals who create visual masterpieces. As a Silver

Partner, ARRI reaffirms its dedicated participation in maintaining the film`s legacy and promoting future generations of cinematographers. ARRI manufactures professional cameras for film, lenses, lighting equipment and post-production.

Young cinematographers delighted with their closeness to colleagues: Last night while we were having dinner, Dante Spinotti sat down behind me and said, „Bon appetite“

At today`s press conference within the framework of the annual edition of the ICFF „Manaki Brothers“, the audience listened to cinematographers Mitja Lichen, Gergő Somogyvári, Sergej Sarchevski and Grimm Vandekerckhove.

“The film is a critique of the elite. The characters in the film somehow materialize our dark thoughts. None of us would probably open the door to a stranger. And in some ways the film tells a story about an incident, they wouldn`t have opened the door if it wasn`t for their guest. I personally know the actors who play in the film. We had rehearsals with them, workshops, it was easy to work with them, we talked openly about everything and there were no problems. The film was filmed between November and December and because at that time of the year due to the weather, the light is not as strong as during the rest of the year we had less time available for

shooting. But there was always enough time”, said Mitja Lichen, the cinematographer of the film „Toxic“, which was screened as part of the European Lo-Cap program.

The documentary „Fairy Garden“ is entirely authored by Gergő Somogyvári and tells the story of a transgender girl who lives with a homeless man outside Budapest.

„In 2019, a law was passed in Hungary banning homeless people from sleeping on the street. With a friend of mine, who works as a social worker we decided to do a short documentary with a homeless person who would like to cooperate. We wandered through the woods around Budapest looking for an interlocutor, and one day we found this beautiful little house and a girl who was friendly and wanted to

work with us. She told us the story of how they met and became friends and started living together. When I saw the camera footage of the two of them after the first shoot, which lasted for 20 minutes, we decided to make a film. Luckily I had my own equipment and I managed to overcome all the challenges we faced on the set. I love working with directors, but this time it was really good that there was no one else between me and the characters we worked with, and I enjoyed working with them. We bonded during the filming and I still worry about what`s going on with her. She doesn`t have an easy life and it`s very difficult to maintain a distance after four years of shooting and decide if we`re friends, if she`s just a subject, or part of the film… But the main idea is to be humane, we shouldn`t set strict boundaries between us“, Somogyvári said, explaining in more detail the status of the homeless and members of the LGBT community in Hungary.

The short program featured the films „A Joke“ and „Across the Waters“, and today cinematographers Sergej Sarchevski and Grimm Vandekerckhove spoke about the significance of being part of the “Manaki Brothers” Festival, their way of working, and what inspired them to work on these films.

“The scenario inspired me to work on this film, considering that it talks about how small things can change your perspective. This was fascinating because I also sometimes think about who we are, where we come from, and how do we form our influence”, said Vanderkerkehove.

An original story by Chekhov is a basis for the film „A Joke“. They were thinking to maintain the original form, but then decided to modernize it and to make it more contemporary.

“We were supposed to film for four days, but it turned out that five days were needed. The budget for filming is never enough, and on the day we started shooting it started to rain, so we rescheduled and we had to take the set to the studio and continue shooting there. In the end it turned out pretty well," Sarchevski said.

They both expressed their pleasure to be in Bitola and said that they are happy to be here for the only and the oldest festival dedicated to cinematographers, where they can approach famous fellow cinematographers much more directly than at any other

festival.

„Last night as we were sitting down to dinner, Dante Spinotti sat down behind me and said, „Bon appetite“. Something like this can`t happen to me at any other festival“, Vandekerckhove recounted.

bruno delbonnel: When I worked on „Ameli“ I wasn`t thinking that I`m doing something extraordinary

“When we were filming ‘Ameli’, at that time I wasn`t thinking that I am doing anything special, I didn`t have that kind of feeling. I wasn`t guided by the though ‘Now I am doing something extraordinary’. However, I was happy when we were shooting the film“, said the great Bruno Delbonnel in the crowded hall of the Manaki cinema in Bitola. There was great interest to hear more about Delbonnel`s life and career, the man who won the Golden Camera 300 for lifetime oeuvre at the 55 th edition of the ICFF „Manaki Brothers“.

The humble Delbonnel said at the start of the master chat that he was just a cinematographer, a father and an ordinary man. At the age of 44, he achieved worldwide fame with „Amélie“, creating a visual masterpiece reflecting Amelie`s fairytale-like and unusual world. The audience watched a few scenes from „Amelie“.

„It was the third feature film I`d worked on. That film changed my life, it was a huge success. I was happy when we made the film. That was 25 years ago. I used 4 filters to get that bloody red color in the film. I`m not going to do that anymore“, Delbonnel jokingly said.

He said that if he had to make the same movie now, he wouldn`t have shot it the same way at all. But the point is, as he added, to grow, to mature and not to do the same things again.

„If the film is good, everyone praises the director and the cinematographer, but if the film isn`t good, then they say the director isn`t good and nobody mentions the cinematographer, and that`s good“, Delbonnel joked.

Bruno Delbonnel is the newest member of the „Manaki Brothers“ Club of the Greats. Going from being a laureate of the Special Golden Camera 300 for his outstanding contribution to world film art, awarded to him at the Manaki Brothers Festival in 2011, now 13 years later Delbonnel joins the world`s cinematic greats, now adorned with the Golden Camera 300 for his lifetime oeuvre.

He was born in 1957 in Nancy, France. He studied philosophy at the Sorbonne, graduating in 1978 from the Ecole Supérieure Etudes Cinematographique (ESEC), a popular and respected school of cinematographic studies in Paris. After graduating, Delbonnel developed an affinity for directing as well. He directed a feature-length documentary inspired by the circus world in 1989, „The Grand Circus“, but then continued his career as a cinematographer, creating an enviable oeuvre in collaboration with many notable French and international directors.

panel „leitz“: The cinematographer`s connection to the lenses is special

The relationship between the cinematographers and the lenses is special and intimate and it should be developed. In the process of making a film, we are always looking for greater sharpness and definition, and in that process, lenses are very important.

This was the conclusion of the panel discussion „Leitz“ – Choosing the right painter`s brushes (selection of lenses)”, at which the proven cinematographers Nancy Schreiber, Mustafa Bharat and Lula Carvalho spoke. It was held at the Manaki Cinema, as part of the International Cinematographers Film Festival „Manaki Brothers“. The discussion was led by Seth Emmons, Director of Communications at Leitz, who said that the company has been sponsoring the festival for a third year and which is one of his favorite events. At the event, the professionals talked about the beginnings of their career.

“I graduated in psychology from the University of Michigan. But I knew I was too active to sit and chat all day with people who had problems. So, I moved to New York. I started my career as an electrician on the first film I was selected for, even though I had no idea what I should do“, said, Schreiber, who in her later career managed to become a director of photography.

She stressed that it is very important what lenses are used when shooting a film. Schreiber told that many years ago she was making a short film together with her friend who was a director, so they tested the lenses they used and said that testing is mandatory before use.

Lula Carvalho, meanwhile, is a cinematographer who grew up on film sets, because his father was also a director of photography. He has worked on the films “RoboCop” and the blockbuster “Teenage Mutant Ninja Turtles”.

„Since the age of ten, I have been with my father in sets. I started in Brazil, now I live and work in New York. I wanted to be like my father, I loved the camera. I was already in the camera department in high school. My father didn`t want to work with me because I was his son, but after a year, I was lucky enough to get a director to call me and hire me on a film“, Carvalho said.

Talking about the use of lenses, he said that lenses are important because when making a film, greater sharpness and definition are always needed. A few years ago, he said he used a SONY A7 camera when filming a documentary, which allowed him more flexibility. Carvalho recently shot for the first time with SONY Venice, which according to him is a great camera.

Brazilian cinematographer Mustafa Bharat shared with the audience that his mother was a film worker.

„I`ve worked a lot on commercials, documentaries and a couple of feature films. It`s amazing how technology is changing things. Regardless if the reasons were financial or otherwise, I fill sorry that there were lenses that I wanted to use when filming, but I wasn`t able to“, he said.

Jolanta Dylewska: I keep thinking about how different cinematic art would have been if a woman had been involved in its creation from the very beginning

The focus on the face is very important in the career of Jolanta Dylewska, this year`s winner of the Special Camera 300 Award for Outstanding Contribution to Filmmaking. The film „Tulpan“, directed by Dilewska, was screened at the Manaki Brothers ICFF last night, and she spoke at today`s press conference about her focus on the faces of people and animals and why it is so important to her and to women cinematographers; she also reflected on the significance of the award presented to her at the opening ceremony.

„I would like to point out that Michal Dymek and I graduated from the Polish National Film Academy. When I came to study at the Academy, no one believed it was possible for a woman to be a cinematographer. Only one professor, the famous Polish cinematographer, Jerzy Wójcik, believed in me and we created a strong connection as a student and a teacher. He had a holistic approach and taught us that the camera captures both what is seen and what is not seen. I approach faces like approaching a mirror through which time passes. I think the most interesting thing is the person in front of the camera, regardless if it`s a documentary or a feature movie“, Dilewska said.

She also added that the award was very important to her and wanted to say how she felt when she received the call by the director of the Manaki Brothers ICFF who told her she was the recipient of the award.

„I started thinking about what cinematography would have looked like if the Manaki brothers had a sister. How different would cinematic art look if a woman had participated in the creation from the very beginning.From the moment they put the camera to record, the visual history of the world was created. From the beginning it was a man`s job and I wonder how different it would have if the Manaki brothers had a sister. I really regret that it did not happen“, Dilewska said, pointing out that she disagreed with the notion that women cinematographers could not work because the camera in the past was too heavy.

She added: „I was always watched by my older male colleagues when I was working and constantly they looked at me with distrust", she also explained that now things have changed and there are a lot of young women who are choosing this path.

The cinematographer of „The Girl with the Needle“, Michal Dymek, told reporters after yesterday`s screening that they had a very long preparatory period and decided to focus on beautiful details, to follow the dynamics of the story which is very intuitive.

The filming started in Denmark, then Sweden came in as a co-producer and Poland as a co-producer and the whole thing was moved to Poland because of the small budget.

„The whole time we were shooting, there was an open and constant communication between the actress and the director. Magnus portrayed a woman`s story from a male perspective. It tells a very difficult topic that certainly affected all of us, and after the shoot we all had a little bit of a break“, Dymek said.

Marko Brdar, the cinematographer of „Safe Place“ under the European Lo-Cap program, in the meeting with the journalists spoke about the theme of the film, given that it is a very disturbing film–an intimate story about the suicide of the author of the screenplay.

„I only knew the director as Jacob's brother, but when I found out he wanted to make a movie about this story, I immediately got involved and spent two years with him working on the film“, he said.

Wlodarczyk: "Zone of Interest" is filmed in natural light, with 10 SONY Venice cameras

Being a digital imaging technician (DIT) is a unique experience. Working on all preparations before shooting the film is difficult, but impressive. I would do the same all over again, but I`m sure it won`t be as challenging and fascinating at the same time as this experience. This was said today by Krzysztof Włodarczyk, DIT of the Polish film „Zone of Interest“, directed by Jonathan Glaser, who was featured in the main selection of the „Manaki Brothers“ Festival. At the Manaki Cinema in Bitola, he presented what happened behind the scenes as well as during the preparation before the start of the filming of this remarkable film.

„The director wanted the whole film to be shot with natural light, that is, to use the natural light that is available at night and during the day. In such a project, it is important what choice of equipment you will make. We chose 10 SONY Venice cameras, and we needed more cameras. We knew we had limited space in the house where we filmed: for the cameras, for the crew working on the film, so we had to work with small cameras. We had to know how big was the house we were filming in, to plan well for the space we had. There was no film crew on set when this film was shot, the actor himself was doing it all“, Włodarczyk said.

He said that the size of the cameras used during filming was important. It was important that the cameras were as small as possible, so that they could be easily hidden, in order not to defocus the actors. The idea of the director of the film was not to cut footage and repeat scenes. That is why there was a lot of recorded material at the end, about 400 terabytes (0.6 petabyte).

For the filming, a thermal imaging camera was used at night, which is very specific. It was adapted for film use because, primarily, it is not intended for filming. That experience for the filming crew was an easy experience, but it was challenging for those working in post-production.

Włodarczyk said SONY`s cameras did a good job, given that daylight changes during the day. He showed photos from the shooting of the film, which show that several cameras were mounted on a car, ready to shoot a set, and this was possible because they were small and could be mounted and used in the same place at once.

The director of photography of the film „Zone of Interest“ is Łukasz Żal, a Polish cinematographer known for the film "Cold War" (2018), which earned him an Oscar nomination, an award of the American Society of Cinematographers (ASC) for outstanding achievements in cinematography in theatrical editions and a BAFTA nomination. In addition to this film, he is also the cinematographer of the film „Ida“ (2014, Oscar nomination, ASC Spotlight award, EFA Best European Cinematographer award and BAFTA nomination).

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