Boa

Jean-Luc Godard’s close collaborator and director of photography on his last films (Film Socialisme, Adieu au langage, Le Livre d’image), Fabrice Aragno is also a director and editor. With Le Lac, he offers a very sensitive experience, largely shot on a real sailing boat on Lake Geneva. On board is a couple (actress Clotilde Courau and professional skipper Bernard Stamm), whose gazes and gestures we follow amid the wind and waves. An almost dialogueless show, in which the images, textures and sounds form a kind of visual poem about the couple without ever formally explaining anything. Swiss director of photography Joseph Areddy, SCS, is lensing this film, selected in Camerimage’s new section, "Artistic Experimentation"’. (FR)

Laura Samani decided to adapt Giani Stuparich’s novel "A Year at School" (1929) for the screen, which tells the story of a girl’s arrival at an all-boys high school in Trieste. Transposed to the late 2000s, the director makes the story her own, infusing it with her own memories and the music of her 20’s. Inès Tabarin, AFC, teams up for the first time with this transalpine filmmaker, working on screen on this nostalgia-filled film shot entirely in this Italian border town, which geographically marks the gateway to Central Europe. (FR)

Laura Samani a décidé d’adapter à l’écran le roman de Giani Stuparich, Une année d’école (1929), qui raconte l’arrivée d’une fille dans un lycée entièrement fréquenté par des garçons, à Trieste. Transposée dans une époque récente (fin des années 2000), la réalisatrice, née en 1989, s’approprie l’histoire et la nourrit de ses propres souvenirs et des musiques de son adolescence. C’est Inès Tabarin, AFC, qui fait équipe pour la première fois avec cette cinéaste transalpine, travaillant à l’écran ce film chargé de nostalgie, tourné entièrement dans cette dernière ville frontière italienne marquant géographiquement la porte vers l’Europe centrale. (FR)

“Taking pictures was always a passion that I had. For me the best job on a film crew has always been operating a camera. I adore operating, I love the challenges. Capturing images that you hope and pray people will enjoy looking at gives me great satisfaction. It gives a feeling of joy looking through the viewfinder. I’ve been so lucky.”

« Prendre des photos a toujours été une passion pour moi. Je pense que le meilleur poste sur un tournage est à la caméra. J’adore opérer, j’aime les défis. Capturer des images - en espérant et en priant pour que les gens aiment les regarder - me donne une grande satisfaction. J’éprouve du plaisir à regarder dans le viseur. J’ai eu tellement de chance. »

Depuis vingt ans, la réalisatrice belge Vero Cratzborn et le directeur de la photographie Matthieu Bastid font des courts métrages ensemble. Mais pour le premier long métrage de la réalisatrice, tourné dans les Hauts-de-France et en Belgique, en coproduction belgo-franco-suisse à majorité belge, Vero Cratzborn a fait appel à Philippe Guilbert, AFC, SBC, habitué des coproductions entre la Belgique et la France, et aux tournages à deux caméras. Matthieu opère la deuxième caméra (LA).

After their first film, Syngué Sabour, in 2012, Atiq Rahimi called on Thierry Arbogast a second time to film the adaptation of the eponymous novel by Scholastique Mukasonga. This story, somewhere between a Bildungsroman and a bloody tragedy, takes place in Rwanda in the 1970s against a background of sundrenched hills, rainy dawns, and dreamy forests, and is set in a Catholic boarding school far outside of the city whose pupils are upper-class young ladies.

An encounter with Jacques Delacoux, one of the AFC’s associate members who has remained as genuine and likeable as the first day his company, Transvideo, became an associate member of our association. An indefatigable globetrotter, he attends international trade fairs, workshops, festivals, and master classes all over the world. He opened the doors of his company in Verneuil-sur-Avre to us, in order to tell us about the company’s beginnings, the equipment it manufactures, his perspective on his profession, his encounters, his choices, and to sum it up, just what cinema means to him.

At the last Cannes Film Festival we started a series of interviews with directors of photography who were not members of the AFC.

I had the pleasure of meeting Lubomir Bakchev at the special screening, organized jointly with the CST, of A Secret by Claude Miller, photographed by Gérard de Battista.

I knew that the release of The Secret of the Grain (La Graine et le mulet) by Abdellatif Kechiche was imminent and I asked Lubomir to see a preview. I then suggested to Lubomir that we extend our conversation with the present interview.

If I had one wish to make for the AFC, it is that interviews, like the one of Gérard de Battista by Wilfrid Sempé, become a means of strengthening relationships and kinship between members, and of reinforcing that most important subject for the future of our association : the image of a film.

Enjoy the interview. Eric Guichard

Over the summer, the AFC Board of Directors decided to admit DJI—a manufacturer of professional cinema drones—as an Associate Member. Below, its AFC sponsors, Xavier Dolléans and Jean-François Hensgens, introduce this newcomer—whom we warmly welcome—just as they did when supporting its candidacy before their peers.

The Spanish directing duo Javier Calvo and Javier Ambrossi (Los Javis) have embarked on a sort of deliberately veiled biopic of the great writer Federico García Lorca. Their film interweaves three narrative strands across three separate eras without any distinction in the editing (the sound of one era even sometimes overlapping with another during transitions). After these 2 hours and 35 minutes, which at times follow in the footsteps of Hollywood’s great historical epics, one realises just how complicated the film must have been to shoot. Director of photography Gris Jordana, who previously worked on their series “Las mesias”, is shooting this film. La Boal Negra just received the Best Director Prize in Cannes Film Festival 2026. (FR)

Following the Ordinary General Assembly, held on Saturday March 14, 2026 at La Fémis and during which the AFC statutorily renewed its Board of Directors, the Board met on Wednesday April 1st to elect the association’s new Executive Committee. Succeding Jean-Marie Dreujou, Jean-François Hensgens is the new elected President of the AFC.

Jean-Marie Dreujou et moi revenons de Vienne, en Autriche, où nous avons représenté l’AFC à l’assemblée générale annuelle d’Imago (IAGA), rejoints jeudi soir par Thomas Favel. Cette assemblée s’est passée beaucoup plus agréablement que ne le laissait augurer l’agressivité ressentie lors de la IEGA (assemblée générale extraordinaire) une semaine avant.

Alors qu’à l’étage de la Cinémathèque française l’exposition consacrée aux films de Wes Anderson ne désemplit pas, le 23 mai la salle Henri Langlois accueillait son directeur de la photographie emblématique, Robert D. Yeoman, ASC, pour une master class qui prendra la forme d’un voyage dans le temps en images. Laurent Mannoni introduit la master class en rappelant d’autres couples réalisateur-technicien qui ont marqué l’histoire du cinéma, tels que Griffith et Bitzer, Godard et Coutard, Tom Stern et Clint Eastwood, etc. Wes Anderson et Robert Yeoman, ASC ont fait ensemble plus d’une dizaine de films, créant une esthétique et un univers inédits et caractéristiques. Avant de tourner avec Anderson, Yeoman avait collaboré avec William Friedkin, Roman Coppola, Wes Craven, Gus Van Sant, etc. (HdR)

With La Danse des renards (Wild Foxes), Valéry Carnoy tells the story of friendship between two young boys in a sports training and competition context. This debut film, selected for the Directors’ Fortnight, weaves reality and allegory, as the lives of these young boarders are divided between the training centre and an adjacent forest. Arnaud Guez, a graduate of the INSAS, is lensing this boxing film, in which very few fights are actually shown on screen... (FR)

Following its Ordinary General Assembly, held on Saturday March 22, 2025 at La Fémis - during which the AFC statutorily renewed its Board of Directors - the Board met on Tuesday April 29 to elect the association’s new Executive Committee. Jean-Marie Dreujou, AFC, ASC, was re-elected for a further term as President of the AFC.

Gilles Porte, AFC, est actuellement en tournage en Thaïlande sur Fils de personne (Nobody’s Son), un film réalisé par Safy Nebbou. Comme il l’avait déjà fait en 2014 avec 3000 Nuits, de Mai Nasri, en 2015 avec Dans les forêts de Sibérie, de Safy Nebbou, en 2024 avec Lady Nasca, de Damien Dorsaz, Gilles nous propose de nouveau deux images par jour, dont il est l’auteur, sauf mention contraire, commentées par lui. Une sorte de journal de choses vues ou ressenties, instants saisis avec l’appareil photo ou le smartphone.
Voici le journal de la sixième semaine.

In March 2023, a strike is in full swing in France, disrupting transport and complicating journeys. Claire Mathon, who lives in Paris, must travel every day to the Bry-sur-Marne studios in the distant suburbs, where she is shooting Pablo Agüero’s film Saint-Ex. She has therefore asked the production company – and this will be her only luxury – for a driver to get her there. During this hour-long journey, she sees the sun rise and, for the first time in her life, enjoys the traffic jams that allow her to delay a little the moment when, every day for 47 days, she will enter the famous 1,000m2 studio B5, from which she will not leave until nightfall.

Chères équipes image, nous voulions vous tenir informées des évolutions de Ruby Light.

Gilles Porte, AFC, is currently filming Lady Nazca in Peru, a film directed by Damien Dorsaz. As in 2014 on 3000 Nights, by Mai Nasri, and 2015 on Dans les forêts de Sibérie, by Safy Nebbou, Gilles once again offers us two images per day, taken by him (unless otherwise stated) along with his commentary. A sort of diary of things seen or felt, moments captured on the camera or smartphone.
Here is the diary of the sixth and final week.

Gilles Porte, AFC, est actuellement en tournage au Pérou sur Lady Nazca, un film réalisé par Damien Dorsaz. Comme il l’avait déjà fait en 2014 avec 3000 Night, de Mai Nasri, et en 2015 avec Dans les forêts de Sibérie, de Safy Nebbou, Gilles nous propose de nouveau deux images par jour, dont il est l’auteur, sauf mention contraire, commentées par lui. Une sorte de journal de choses vues ou ressenties, instants saisis avec l’appareil photo ou le smartphone.
Voici le journal de la sixième et dernière semaine.

We are very saddened to hear of the passing, in his 83rd year, of the Danish cinematographer Andreas Fischer-Hansen, DFF. He was a Francophile and a great friend of the AFC, who never failed to visit us during events that we have organized in Paris : Micro Salon, Caméflex Festival, IAGA Imago 2012 and a lot of other meetings.

Nous avons la tristesse d’apprendre le décès, le 25 juillet dans sa quatre-vingt troisième année, du directeur de la photographie danois Andréas Fischer-Hansen, DFF. Francophile, il était un grand ami de l’AFC et ne manquait pas de nous visiter à l’occasion de manifestations que nous organisions : Micro Salon, Festival Caméflex, IAGA Imago 2012 et beaucoup d’autres réunions.

The Annual General Assembly of Imago (IAGA) – the International Federation of Cinematographers – was held in London from 14-15 February 2024, hosted by the BSC. Richard Andry, who represented the AFC alongside Jean-Marie Dreujou, Eric Guichard (Imago’s Controller) and Denis Lenoir (Board member), has written the following detailed and illustrated recap of this event.

L’Assemblée générale annuelle d’Imago (IAGA), Fédération internationale des associations de directeurs et directrices de la photographie, s’est tenue à Londres, les 14 et 15 février 2024, à l’invitation de la BSC. Richard Andry, qui y représentait l’AFC aux côtés de Jean-Marie Dreujou, Eric Guichard, contrôleur financier d’Imago, et Denis Lenoir, membre du Board, revient sur cette réunion en en faisant un compte rendu détaillé et illustré.

Recently admitted to the AFC, cinematographer Sarah Blum is presented here by her two AFC sponsors, Agnès Godard and Claire Mathon, in the same words they used in support of her application for membership to the members of the association’s board of directors.

Selected out of competition at this years Cannes Critics’ Week, Stephan Castang’s first film is a fantastic story in which the protagonist suddenly finds himself confronted with inexplicable violence. To bring this fable to life, which oscillates between a paranoid film and an epidemic film, Manu Dacosse, BSC, teamed up with this highly experienced theater actor. It is Karim Leklou who lends his features to Vincent, bringing both the fragility and the strength that characterize the character with talent. (FR)

Sélectionné hors compétition à la Semaine de la critique, le premier film de Stephan Castang est une histoire fantastique où le protagoniste se trouve subitement confronté à une violence inexplicable. Pour mettre en image cette fable qui oscille entre film paranoïaque et film d’épidémie, Manu Dacosse, BSC est venu faire équipe avec ce comédien de théâtre déjà très expérimenté. C’est Karim Leklou qui prête ses traits à Vincent, apportant avec talent à la fois la fragilité et la force qui caractérise le personnage. (FR)

Cinematographer Inès Tabarin was recently admitted to the AFC as a member. Here, she is introduced by her AFC sponsors, Caroline Champetier and Benoît Delhomme, in the words they used before the Board in support of her application.

Cinematographer Vincent Gallot has just joined the AFC as an active member. Philip Lozano, AFC, one of his two sponsors (the second was Michael Abramowicz, AFC) introduces the new arrival here in the same words he used to introduce him to the Board when his application was being considered.

Cinematographer Evgenia Alexandrova has just been admitted as a member of our association. Here, she is introduced by her two AFC sponsors, Denis Lenoir, ASC, ASK, and Gordon Spooner, in the words they used to expressed their support of her candidacy to the Board Members of the AFC.

Cinematographer Élodie Tahtane has just joined the AFC as a member. Her AFC sponsors are Axel Cosnefroy and Pascale Marin, who present this newcomer whom they advocated for in front of the association’s Board when they proposed her candidacy to the existing members.

During an AFC Board Meeting in late 2022, Cinematographer Kanamé Onoyama was admitted to active membership of the association. Introduced here by Matias Boucard, AFC, and Pascale Marin, AFC, his sponsors, we wish a warm welcome to this new arrival !

Luciano Tovoli, AIC, spearheaded the creation of Imago, the European Federation of Cinematographers Societies, in 1992. Its original constituent societies were four European cinematographers’ societies : AIC (Italy), AFC (France), BSC (Great Britain), BVK (Germany). In 2023, it was renamed the International Federation and now has 54 member societies. The thirtieth anniversary celebration took place simultaneously with Imago’s Annual General Assembly (IAGA) in Rome, Imago’s birthplace. I was invited to represent the AFC at this event.

Following the Ordinary General Assembly of the AFC, which took place in the Salle Demy of La Fémis, Saturday the 19th of March 2023, during which its Board was renewed, the Bureau was also renewed on the 3rd of April. Claire Mathon has been re-elected as Co-President of the AFC, that she shares this year with Jean-Marie Dreujou.

Imago, European Federation of Cinematographers Societies (Fédération européenne des associations de direct(eurs)trices de la photographie), fut créée en 1992, à l’initiative de Luciano Tovoli, AIC, par quatre associations européennes de directeurs de la photographie : AIC (Italie), AFC (France), BSC (Grande-Bretagne), BVK (Allemagne). En 2023, devenue Fédération internationale, Imago regroupe 54 associations. Fêter dignement ce trentième anniversaire était couplé à la tenue d’une Assemblée Générale Annuelle d’Imago (IAGA) à Rome, lieu de naissance de la belle trentenaire. C’est à cet évènement que j’ai été invité pour y représenter l’AFC.

Lars Weyer a été nommé, à compter du 20 mars 2023, membre du conseil d’administration et directeur financier d’Arri. Cette annonce a été faite par le conseil de surveillance de l’entreprise mondiale de technologie cinématographique. À ce poste, Lars Weyer est responsable des départements finances, ressources humaines, informatique et gestion des installations.

War films without soldiers are few and far between. Yet, this is what Norwegian Gunnar Vikene opted to do on his impressive film Kriegsseileren, which was screened in official competition for the Golden Frog for Best Cinematography 2022. Its narrative arc is evocative of Michael Cimino’s Deer Hunter (although it would have been entirely fitting for it to have adopted Cimino’s film’s French title : Journey to the End of Hell), this film whose title means “war sailor” is a film full of nuances in which destiny, friendship and survival combine to provide powerful dramatic fuel. Danish cinematographer Sturla Brandth Grøvlen, (Rams, 2015, winner of the Silver Frog) shot this epic yet very intimate story... (FR)

Rares sont les films de guerre sans soldats. C’est le parti pris du réalisateur norvégien Gunnar Vikene et de son impressionnant Kriegsseileren (War Sailor), projeté en Compétition principale pour la Grenouille d’or de la meilleure image 2022. Évoquant par sa construction narrative Deer Hunter, de Michael Cimino (auquel il pourrait emprunter sans complexe le titre français, Voyage au bout de l’enfer), ce "matelot de guerre" est un film tout en nuances où destin, amitié et survie forment un puissant carburant dramatique. C’est Sturla Brandth Grøvlen, DFF, directeur de la photographie danois (Rams, en 2015, déjà récompensé par une Grenouille d’argent), qui met en image cette histoire à la fois épique et très intime... (FR)

With the series "Eldorado", director Louis Farge (Culte, Log Out, Follow) chose a reconstitution of a state scandal from the Giscard era : the "sniffing planes" affair, brought to light in 1983 by Le Canard Enchaîné’s journalist Pierre Péan. Beyond the visual and auditory journey back to the 1970s, the director tackles the subject to deliver an original series, deliberately distancing itself from the conventions of Hollywood con or heist classic films. By creating a cast of characters (inspired by the real-life protagonists), he also offers his lead actors touching roles in which each seems, in turn, overwhelmed or manipulated. A fable about lies and loneliness that marks the end of the "Thirty Glorious Years" for the West. Martin Laugery is the cinematographer for this Arte series, selected for the French competition at the 2026 Séries Mania festival. (FR)

After Goliath (2017), which focused on a young man questioning his future role as a father, Swiss filmmaker Dominik Locher decided to shed light on the underside of luxury tourism in Valais. Teaming up with screenwriter Honeylyn Joy Alipio, he built his new film Enjoy Your Stay around a group of Filipino cleaning ladies working in the shadows of the ultra-chic chalets of Verbier, the Swiss Courchevel. Jeanne Lapoirie, AFC, accompanied him on set for this hard-hitting film about modern slavery. Enjoy Your Stay will have its world premiere in the Panorama section at the 2026 Berlin Film Festival. (FR)

Since Interview with the Vampire, Philippe Rousselot, AFC, ASC, had not left the United States, punctuating his regular collaborations with Neil Jordan and Tim Burton and other equally prestigious productions. Thirty years after Queen Margot, his last French project, the cinematographer returned to his native country to accompany his friend Diane Kurys for their third collaboration, Moi qui t’aimais. For this unique and personal biopic, Philippe Rousselot was able to see, behind the features of Marina Foïs, the actress Simone Signoret, whom he had had the pleasure of filming for her very last appearance in cinema in Guy de Maupassant. Moi qui t’aimais was presented in a Special Screening at Camerimage 2025. (MC)

Depuis Entretien avec un vampire, Philippe Rousselot, AFC, ASC, n’avait plus quitté les États-Unis, ponctuant ses collaborations régulières avec Neil Jordan et Tim Burton et d’autres productions tout aussi prestigieuses. Trente ans après La Reine Margot, son dernier projet français, le chef opérateur est revenu dans son pays natal accompagner son amie Diane Kurys pour leur troisième collaboration, Moi qui t’aimais. Pour ce biopic singulier et personnel, Philippe Rousselot a pu revoir, derrière les traits de Marina Foïs, la comédienne Simone Signoret, qu’il avait eu la joie de filmer pour sa toute dernière apparition au cinéma dans Guy de Maupassant. Moi qui t’aimais était présenté en Séance spéciale à Camerimage 2025. (MC)

With La Ligne de vie, director Hugo Becker (who is also an actor) took on a real challenge : recreating the atmosphere of the trenches of the Great War in a short film. This historical episode has been widely adapted for cinema, with references known to all that cannot fail to resonate in the minds of viewers. Thanks to the writing and the multiplicity of points of view, he starts from a simple news item and attempts to shed light on it, much as Akira Kurosawa experimented with in Rashomon. Tommaso Fiorilli, AFC, SBC, was responsible for shooting this short film, which was selected for Competition at this year’s Venice Film Festival. (FR)

In this second part of the long dialogue between Yves Cape, AFC, and Caroline Champetier, AFC, about Michel Franco’s Sundown, we discuss color grading, skins, neutrality, prison, the accuracy of sets, light direction... all the questions that are not just a matter of technical or aesthetic choices.

Three-time Oscar winner Vittorio Storaro, who has been working with Woody Allen since 2015, is currently shooting in Paris. Billed as a return to the thriller genre (in the same vein as Crimes and Misdemeanors and Match Point, the two black pearls in his long filmography), this film is expected to be the New York filmmaker’s final film. In this interview, Vittorio Storaro, AIC, ASC, reflects on his mythical career, his definition of the role of a "Author of cinematography" (and not Director of photography) as well as on The Muses of Light, his exclusive series of LED spotlights and softlights developed with De Sisti and which were given the names of Zeus’ nine daughters. The full range is distributed in France by Dimatec, and Stéphane Samama, with whom we met him. (FR)

Faisant équipe depuis 2015 avec Woody Allen, Vittorio Storaro est actuellement en tournage à Paris. Annoncé comme un retour au thriller (dans la veine de Crimes et délits ou Match Point, les deux perles noires de sa longue filmographie, ce film est annoncé comme l’ultime réalisation du cinéaste New Yorkais. Vittorio Storaro, AIC, ASC, revient avec nous sur sa carrière mythique, sur sa définition du rôle d’"Auteur de la cinématographie" (et non pas de directeur de la photographie) ainsi que sur les "Muses of Light", sa série exclusive de projecteurs LED développés avec De Sisti et baptisés des noms des neuf filles de Zeus. Une gamme distribuée en France par Dimatec et Stéphane Samama, avec qui nous l’avons rencontré. (FR)

Les Magnétiques, de Vincent Maël Cardona, était en sélection à la 53^e Quinzaine des Réalisateurs. Le directeur de la photographie Brice Pancot relate, dans le texte qui suit, son travail à l’image, des réflexions qui ont guidé la mise en scène aux solutions de lumières – d’un film nocturne dans sa majorité – et de mouvements de caméra. [NDLR]

I have a very precise memory of my state of mind when I finished my first read-through of the screenplay of Insyriated : I was overwhelmed and even physically worn out. I felt as though I had personally lived through that day of war. Not war as one imagines it : adventurous, heroic, on the front…masculine…

Je me souviens très précisément de l’état dans lequel j’étais lorsque j’ai terminé ma première lecture du scénario d’Une Famille syrienne : j’étais bouleversée et même physiquement essoufflée. J’avais le sentiment d’avoir moi-même vécu cette journée de guerre. Pas la guerre comme on l’imagine : aventureuse, héroïque, sur le front… Masculine…

Before he was fêted within the temple of French cinephilia, Darius Khondji agreed to participate in a particular sort of interview during which we asked him to react to a series of surprise images. The DoP of Delicatessen and Seven discussed some of his memories, inspirations, anxieties, and passions with us. (FR)

Howard Preston is the founder of the company that bears his name and that manufacturers the world’s most widely used professional focus and lens control systems. Another high-profile manufacturer for the cinema industry, Jacques Delacoux, CEO of Transvideo, took advantage of Howard Preston’s attendance at the 13th Micro Salon to have an animated discussion with him.

Howard Preston est le fondateur de la société éponyme, qui fabrique notamment les systèmes de contrôle de mise au point HF les plus utilisés au monde sur les plateaux de cinéma. Sa présence au 13^e Micro Salon a été l’occasion d’une discussion animée par un autre industriel vedette du secteur : Jacques Delacoux, PDG de Transvideo.

LED technology has come a long way. However, for cinematographers and gaffers, one question still matters : How accurately does your light reproduce the colors your camera actually sees ?

The Nanlux Evoke 5000B is the world’s first 5kW stormproof LED bi-color spotlight with green/magenta adjustment. It delivers an ultra-high output that approaches that of a 9kW HMI or 24kW tungsten light. Powered by the newly developed Nebula B4 Light Engine, the Evoke 5000B delivers high white light efficiency and provides a color temperature range of 2700K–6500K with ±80 green/magenta adjustment.

Aputure officially releases the Storm CS32, the brightest fully tunable color fixture in our point source line of LED lights. The Storm CS32 features an advanced Blair-CG with Extended Red-light engine with output exceeding a 4K HMI, exceptional saturated colors across the visible light spectrum, and excellent tunable white light, all while maintaining a small size and weight for single person operation.

With A Good Soldier, director Stéphane Brizé reunites with his favourite actor, Vincent Lindon, and a working environment he had previously explored in his famous trilogy (The Measure of a Man, At War, Another world).
With a streamlined narrative structure, the film centres on Carla (Alba Rohrwacher), a lively young divorced mother who has just landed a senior management position at Amali. She struggles to find time for her private life and the shared custody of her ten years old son. For whom she harbours great ambitions. Filmed almost exclusively on the company’s premises, the film is sometimes quite funny, offering in particular a very sharp portrayal of power dynamics within such a big company .
Antoine Héberlé, AFC, is the cinematographer for this film, runing for main competition at the 2026 Venice Film Festival. (FR)

Avec Un bon petit soldat, le réalisateur Stéphane Brizé retrouve à la fois son acteur fétiche Vincent Lindon, et le monde du travail qu’il avait beaucoup exploré avec lui dans sa célèbre trilogie (La Loi du marché, En guerre, Un autre monde).
Dans un dispositif narratif épuré, le film prend comme protagoniste principale Carla (Alba Rohrwacher), une jeune mère divorcée pleine d’entrain qui vient de décrocher un poste important de cadre chez Amali, une compagnie d’assurance. Elle peine à trouver du temps pour sa vie privée et la garde alternée de son fils d’une dizaine d’années pour lequel elle nourrit de grandes ambitions. Presque exclusivement filmé dans les locaux de l’entreprise, le film n’est pas dénué d’humour, en offrant notamment un portrait très piquant des relations de pouvoir au sein d’une telle structure.
C’est Antoine Héberlé, AFC, qui signe les images de ce film sélectionné en Compétition officielle au Festival de Venise 2026. (FR)

Cela fait plus de trois ans qu’Art Tech Design éclaire des plateaux haut de gamme, des publicités Luxe aux côtés de Darius Khondji, AFC, ASC, Chayse Irvin, ASC, CSC, Thierry Baucheron. Des cyclos, des top lights, des configurations que peu de prestataires français proposent.

The Nanlux Evoke 5C is an ultra-compact spotlight built for professionals. It delivers pro-level light shaping and precision full-color output, making it ideal for small scenes, desktop setups, and macro cinematography/photography, or seamless integration into set furniture as unobtrusive practicals.

Creamsource importer Eurolight introduces the new Vortex2 and Vortex2S. The two 160W LED fixtures share the same technological platform but have been designed for different lighting requirements : a directional, high-impact beam from the Vortex2 and broad, even illumination from the Vortex2S.

Measuring 4′ × 2′, the PavoSlim 360C’s expanded surface delivers smooth, even illumination, whether used as a key, overhead, or ambient light. Despite its large size, the PavoSlim 360C maintains the series’ ultra-slim design, measuring just 1.96cm/0.77in thick, making it convenient and efficient to install, conceal, or move the fixture.

Paper Tiger marks director James Gray’s return to his favorite themes : family, urban thrillers and the New York Russian Mob film. It’s also his sixth entry in the Cannes Competition, bringing together Adam Driver, Miles Teller and Scarlett Johansson. The film was shot over 31 days in Queens and New Jersey, on location and on analog film (marking the end of Gray’s brief foray into digital cinematography, on Armageddon Time). Cinematographer Joaquin Baca-Asay is lensing this new film, re-teaming with the Los Angeles based director for the first time since Two Lovers, in 2008. Paper Tiger is in Competition for the Palme d’Or at the 79th Cannes Film Festival. (FR)

Paper Tiger marque le retour du réalisateur James Gray à son canevas préféré, celui de la famille, du thriller urbain et de la mafia russe new-yorkaise. C’est aussi sa sixième participation à la compétition cannoise, rassemblant à l’écran Adam Driver, Miles Teller et Scarlett Johansson. Un film tourné en 31 jours dans le Queens et le New Jersey, en décors naturels et en argentique (refermant sa brève incursion dans la prise de vues numérique amorcée sur Armagedeon Time). C’est le directeur de la photographie Joaquín Baca-Asay qui s’est chargé de mettre en images ce nouveau film, retrouvant le réalisateur depuis Two Lovers, en 2008. Paper Tiger est en compétition pour la Palme d’or du 79^e Festival de Cannes. (FR)

Aputure announces two new Nova panel fixtures and a Nova 3-panel array, alongside new modifiers and accessories for the Nova ecosystem. The Nova 9° 2x1 is a powerful hyper narrow beam panel ideal for a concentrated light over a long distance. The Nova II1x1 is a portable panel more powerful than most 2x1 units when used both direct and diffused.

This interview sheds light on the collaboration between Frida Marzouk and the director, as well as the aesthetic and technical choices that guided the film’s visual design.

Developed by Nanlux, the Nebula C8 Full Color Light Engine is the industry’s first eight-color light engine, achieving full coverage of the entire visible spectrum. With Nanlux’s proprietary color-mixing algorithm, its eight colors are precisely balanced and seamlessly blended, delivering a wider CCT range, a broader color gamut, more expressive and safer lighting for creation.

Développé par Nanlux, le Nebula C8 Full Color Light Engine est le premier moteur lumineux huit couleurs de l’industrie, offrant une couverture complète de l’ensemble du spectre visible. Grâce à l’algorithme de mélange de couleurs propriétaire de Nanlux, ses huit couleurs sont précisément équilibrées et parfaitement mélangées, offrant une plage de température de couleur CCT plus large, un gamut de couleurs étendu, ainsi qu’un éclairage plus expressif et sûr pour la création.

Des nouveautés chez Ruby Light : une version 2 du Boa, dotée, entre autres, de nouvelles LED, de nouveaux tissus, d’une nouvelle confection et d’un nouveau câble, et un Dimmer Pro DMX, disponibles, dès maintenant chez ACC&LED.

Ruby Light lance le concours photo #rubylightchallenge sur Instagram, jusqu’au 29 juillet 2022. Il s’agit de publier vos plus belles photos de tournage avec un Boa !

K 5600 Lighting présente cette année sur son stand à Camerimage le dernier né de sa gamme de moyennes sources, le Joker², d’une part, et les éclairages LED Boa de Ruby Light, d’autre part.

Guillermo Grassi, de Ruby Light, a confié à K 5600 Lighting la commercialisation exclusive des Boa Flex 60, 120 et 240 cm ainsi que la déjà très attendue Raie Manta. Ce nouvel accord s’étend à la quasi-totalité des territoires.

Viva Indian Cinematography. That’s the title chosen by ISC, (Indian Society of Cinematographers) to happily announce on their Facebook page that AFC, the French Society of Cinematographers, have invited India as the Guest Country at the Micro Salon happening in Paris on 27th January 2017, with official invitations sent to ISC, WICA (Western Indian Society of Cinematographers) & SICA (Southern Indian Cinematographers Association) .

C’est par ce titre que l’ISC, Indian Society of Cinematographers, annonçait joyeusement sur sa page Facebook que l’Inde avait été choisie cette année comme pays invité par l’AFC au Micro Salon, dans le cadre de la Carte blanche, et que des invitations officielles avaient été adressées aux trois organisations professionnelles indiennes représentatives de l’image de film (ISC, WICA et SICA), qu’un film de 45 minutes, réalisé spécialement pour cet évènement serait projeté et suivi d’une discussion avec des membres de l’AFC.

Vous pouvez dès maintenant imaginer vos tournages avec le Sky Panel S60 de 450 W sur batterie grâce au système SKY Power imaginé par Fxlion, également chargeur de batteries Vlock.