NOMINATIONS 2011
Carlo di Palma European Cinematographer Award
The craftspeople nominated for this year’s award underline the diversity of talent in Europe
MANUEL ALBERTO CLARO MELANCHOLIA A regular collaborator with Dan- ish director Christoffer Boe (Reconstruction, Allegro) cinema- tographer Manuel Alberto Claro worked for the first time with Lars von Trier on his apocalyptic
Melancholia. Telling a story that combined immi- nent planetary destruction with psychological drama, Melancholia was shot on ARRI Alexa and Phantom digital cameras with some striking hand- held camerawork. Italian Claro studied stills photography at the
Istituto Europeo di Design in Milan and worked as an assistant photographer in Milan, New York and Copenhagen before enrolling at the National Film School of Denmark in 1997. Awards he has won include the Bronze Frog at Cameraimage in 2004 and a Golden Plaque at the Chicago International Film Festival in 2003 for Reconstruction, as well as Bodil and Robert awards for Allegro in 2006.
FRED KELEMEN THE TURIN HORSE (A Torinói Ló) Visually austere, The Turin Horse reunites German cinematogra- pher Fred Kelemen with Hun- garian auteur Béla Tarr after 1995’s Journey On The Plain and 2007’s The Man From London.
The black-and-white film follows the desolate existence of an old farmer and his daughter. Kelemen picked up the Golden Camera 300
award for his work on The Turin Horse at the Manaki Brothers International Cinematogra- phers’ Film Festival in FYR Macedonia earlier this year. Also a writer and director, with credits including Fate and Fallen, retrospectives of Kelemen’s work have been held at Anthology Film Archives in New York, Tate Modern in London and the Hungarian National Film Thea- tre in Budapest. He studied directing and cine- matography at the German Film and TV Academy in Berlin.
ADAM SIKORA ESSENTIAL KILLING Jerzy Skolimowski’s survival thriller, which stars Vincent Gallo as a hunted man, has attracted acclaim for its striking imagery since its world premiere at the Venice Film Festival in
2010. Adam Sikora’s cinematography captures both the sun-scorched golden deserts of Afghani- stan — shot in Israel — and the frozen European mountain forests the film’s central character ulti- mately finds himself trying to survive in.
36 n European Film Awards 2011
GUILLAUME SCHIFFMAN THE ARTIST
Michel Hazanavicius’ black-and- white crowd-pleaser The Artist resurrects Hollywood’s golden age in a story of a silent movie star facing the rise of the talkies. The cinematography height-
ens the vintage feel and France’s Guillaume Schiffman shot in 1/33 ratio using 500 ASA colour film, finding modern black-and-white stock too sharp. He also used lenses stripped of anti-reflective coating and at the request of the director utilised noisy high-speed film cameras so the actors on set knew they were shooting a silent film. Schiffman and Hazanavicius are regular col-
laborators, having worked together on the suc- cessful OSS 117 films. Schiffman’s credits also include Joann Sfar’s Gainsbourg. He was nomi- nated for a César for best cinematography for OSS 117: Cairo, Nest Of Spies in 2007.
Poland-born Sikora has won a range of prizes
throughout his career, including the Golden Key for best cinematography at Slovakia’s Art Film Festival in 2000 for Wojaczek, a Silver Frog at Cameraimage in 2001 for Angelus and an Eagle for best cinematography at the Polish Film Awards in 2009 for Skolimowski’s Four Nights With Anna. A graduate of Poland’s prestigious National
Film School in Łódź, Sikora also writes and directs.
Sune Lok
Jacek Drygala
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72