François Reumont

Shot on the island of Chiloé, in southern Chile, Brujeria is a fantasy film in which history and politics intertwine in an unexpected and very animalistic way. Set in the late 19th century, at a time when European settlers were arriving alongside the newly formed Chilean state, the script depicts the rebellion of a native teenager when her father is unjustly killed by his German employers. 
This is the second feature film by Christopher Murray, a filmmaker whose academic work in anthropology inspired the subject matter. The cinematography is by María Secco, AMC, who is originally from Uruguay but lives and works in Mexico City. We talk to her about the making of this spellbinding story, which has been selected for the "Contemporary World Cinema" section at Camerimage 2023. (FR)

"The Deal" is a series that recreates a recent historical event by showing the inner workings and behind-the-scenes of an international negotiation on the shores of Lake Geneva. Steeped in the atmosphere of realistic spy series and films (including "The Bureau"), where the plot is conveyed largely through the relationships between characters rather than through action per se, it is also a kind of closed-door drama set in a luxury Swiss hotel. The setting is reminiscent of Edward Berger’s recent film Conclave, in which other international negotiations were taking place within the Vatican. Adrien Bertolle is the director of photography for this six-episode series, directed by Jean-Stéphane Bron, co-produced by Arte & Gaumont, and in international competition at Séries Mania. (FR)

Directed by Laure de Butler ("Syndrome E" for TF1 or "Irrésistible" for Disney), the "37 secondes" series tackles an unsolved mystery dating back to January 15, 2004, the sudden sinking of the trawler "Bugaled Breizh" in international waters south of Lizard Cape. Solidly documented and filmed at the scene of the tragedy, this 6-episode series produced for the Arte Channel has been selected in French competition at this year’s Séries Mania. Benjamin Louet, who shot the images, talks to us about the filming process, where history and fiction coexist intimately. (FR)

For his first TV series in 20 years, British director Joe Wright (Atonement, Pride & Prejudice, Anna Karenina) has chosen a kind of first-person narrative to depict the rise of fascist power. Taking distances from the pure historical reconstitution seen in Darkest Hour, his previous biopic about Winston Churchill, Wright’s series "M" plays out almost like a hypnotic and relentless show, with Luca Marinelli, now bald headed, regularly addressing the camera (Best actor Prize in Lille 2025). Once again is cinematographer Seamus McGarvey, BSC, ISC, ASC, behind camera. A longtime friend and collaborator of the British filmmaker, for this series. (FR)

Shot over 80 days between November 2023 and April 2024, the new French mini-series on Apple TV+ recreates the Napoleonic era in a project that combines espionage, haute cuisine and politics. At the heart of the story, which evokes a pact with the devil, is an ambitious young chef who quickly achieves fame and success through his connection with Talleyrand. Matias Boucard, AFC, is the director of photography for this series - in association with Éric Dumont, AFC - directed by Martin Bourboulon (The Three Musketeers). Laurent Héritier, as gaffer, took care of the many electrical setups on location around Paris and in the studio in Bry-sur-Marne. Premiering at the Séries Mania Festival, the series will be available on Apple TV+ in late April. (FR)

After Jeune femme (Caméra d’or at Cannes in 2017) and Petit frère, French filmmaker Léonor Serraille now offers a portrait of a young man, portrayed by Andranic Manet, who plays the lead role. Ari is a character full of contradictions who is navigating between malaise and hope, and who suddenly discovers a role in his life that he hadn’t anticipated. Sébastien Buchmann, AFC, is responsible for the images in this film, produced by Arte as part of a series on youth. (FR)

Certainly one of the standout series of Series Mania 2025, "Querer", co-written and directed by Spanish filmmaker Alauda Ruíz de Azúa, gives voice to women facing domestic violence and paints a stark portrait of contemporary Spanish society and family dynamics. Told over four episodes (filmed in 11 weeks), each serving as a chapter in a long and painful struggle for this mother (portrayed brilliantly by actress Nagore Aramburu), the series is also a visual gem, where every frame and especially every camera movement seems meticulously composed and designed to serve the story. We spoke with Sergi Gallardo, the cinematographer of this series, which won the Grand prize in Lille. (FR)

Directed by Kasia Adamik and Olga Chajdas, the series "Kabul" is a European co-production between France, Belgium, Greece, Germany, and Italy. This ambitious project portrays the evacuation of the Afghan capital during the American withdrawal in 2021. In the great Anglo-Saxon tradition of films recreating major historical events, the series offers a detailed reconstruction of the fall of Kabul. The Polish cinematographer Matteusz Wichlacz, PSC, a long-time collaborator of the two directors, was in charge of filming the entire series. We spoke with him about this spectacular reconstruction of Afghanistan—shot entirely in the suburbs of Athens—and "Kabul"’s participation in the official international competition at Séries Mania. (FR)

Certainement l’un des événement de cette édition 2025 de Série Mania, "Querer", co-écrite et mise en scène par la réalisatrice espagnole Alauda Ruíz de Azúa évoque la parole féminine face à la violence domestique, et dresse un portrait implacable de la société et d’une famille espagnole contemporaine. Racontée sur quatre épisodes (filmés sur 11 semaines), comme autant de chapitres d’un long combat pour cette mère de famille (interprétée formidablement par la comédienne Nagore Aramburu), cette série est aussi un bijou de mise en image où chaque cadrage et surtout chaque mouvement de caméra semble minutieusement composé et étudié pour servir chaque temps de l’intrigue. Rencontre avec Sergi Gallardo, le directeur de la photo de cette série bientôt diffusée sur Arte qui a remporté le Grand Prix, à Lille. (FR)

Co-produced by Haut et Court and directed by Franco-British-Indian filmmaker Sandhya Suri, the film Santosh is a poignant portrayal of women (much like the other Indian film of the summer, All We Imagine as Light, also directed by an Indian filmmaker and winner of the Grand Prix at Cannes). Set in a rural region of northern India (Uttar Pradesh), this debut feature revolves around a young woman, the widow of a police officer, who inherits her late husband’s job due to a peculiar local administrative policy. She faces her new colleagues and is soon confronted with the complex contradictions of Indian society. Sandhya Suri and her cinematographer Lennert Hillege, NSC, presented the film at Camerimage and answered audience questions. The film won the Golden Frog Award for Best First Feature Film. (FR)

Coproduit par Haut et Court et réalisé par la Franco-Britannique et Indienne Sandhya Suri, le film Santosh est un très beau portrait de femmes (comme l’autre film venu d’Inde cet été All We Imagine as Light, réalisé également par une Indienne et lauréate du Grand prix cannois). Prenant pour décor une région très rurale du nord de l’Inde (l’Uttar Pradesh), ce premier film a pour protagoniste une jeune femme veuve de policier qui récupère le poste de son mari selon une des bizarreries de l’administration locale. Bientôt elle découvre ses nouveaux collègues et se retrouve confrontée à toutes les contradictions de la société indienne. Sandhya Suri et Lennert Hillege, NSC, son directeur de la photographie, sont venus tous les deux présenter le film à Camerimage, et ont répondu aux questions du public. Le film a remporté la Grenouille d’or du Meilleur premier film. (FR)

Tout juste auréolé d’un Lion d’argent à la Mostra de Venise, le film de Brady Corbet vient continuer sa moisson de prix au festival Camerimage. Comme hors du temps des réseaux sociaux et et de l’instantanéité des images en ligne, The Brutalist peut être considéré comme un plaidoyer pour le retour au spectacle cinématographique en salle. Avec son ouverture, son prologue, son entracte et son épilogue, ces 3h30 de spectacle propulsent le spectateur à l’époque de Docteur Jivago ou du Parrain.
Lol Crawley, directeur de la photographie britannique, vient nous parler des risques qu’on peut prendre photographiquement sur un plateau, de la beauté narrative du plan-séquence, et de comment parvenir à filmer sur pellicule un film comme celui-là en seulement 33 jours... (FR)

Avec Small Things Like These, le cinéaste belge Tim Mielants place son récit à la fin des années 1980, dans une Irlande populaire, donnant un nouveau point de vue sur l’affaire des Magdalene Sisters (adapté dans le passé par Peter Mullan, en 2002). On suit la vie d’un paisible père de six filles (la star irlandaise Cillian Murphy) dont les cicatrices du passé refont soudain surface quand il découvre une des jeunes filles pensionnaire du couvent. C’est le directeur de la photographie néerlandais Frank van den Eeden, SBC, NSC, qui met en image ce film d’époque en compétition pour la Grenouille d’or à Camerimage 2024. (FR)

With Small Things Like These, Belgian filmmaker Tim Mielants tells the story of the late 80s, in working-class Ireland, giving a new point of view on the Magdalene Sisters affair (adapted in the past from Peter Mullan in 2002). We follow the life of a peaceful father of six daughters (Irish star Cillian Murphy) whose scars from the past suddenly resurface when the discovery of one of the young girls staying at the convent. Dutch DoP Frank van den Eeden, SBC, NSC, lensed the film, which is in competition for the Golden frog of Camerimage 2024. (FR)

With Conclave, German filmmaker Edward Berger (All is calm on the Western Front, multiple Oscars winner including Best cinematography in 2023 for James Friend, BSC), radically change the universe and decide to adapt a novel which tells how the election of a new pope is held at the Vatican. Served by a dazzling cast (Ralph Fiennes, Stanley Tucci, Isabella Rossellini...), the film navigates between investigation, alcove secrets and political campaign between cardinals. It’s Stéphane Fontaine, AFC (The Beat My Heart Has Stopped, A Prophet, Jackie...) who is behind the camera this time. He comes to talk to us about this rebuilt Vatican at Cinecittà, about faces and how to film them and about red color, which regularly cross the image. Conclave is presented in European preview at Camerimage and competition for the Golden frog in the Main competition (FR)

"Baby Reindeer" was undoubtedly one of the year’s most striking pieces in terms of writing, acting, and audience impact. In just a few months, it quickly became one of Netflix’s flagship series, largely due to its creator Richard Gadd, who also stars as the lead. Gadd bravely brings to the screen an extremely grave and personal episode from his own life in an unprecedented manner. This series is groundbreaking in its audacity, proving that even the boldest projects, initially seeming far from mainstream, can captivate the public. Here we reflect on the making of this series with Krzysztof Trojnar, who was the cinematographer for the first four episodes, directed by Weronika Tofilska. (FR)

"Baby Reindeer" ("Mon petit renne") a certainement été l’un des chocs de l’année en termes d’écriture, d’interprétation et d’impact sur les spectateurs. Devenue l’une des séries phares de la plateforme Netflix en l’espace de quelques mois, elle repose essentiellement sur son créateur Richard Gadd, également interprète principal, qui ose de manière assez inédite à l’écran transposer un épisode extrêmement grave et privé de sa propre vie. Une série qui fait date dans l’histoire de la production, prouvant que même les projets les plus audacieux ou à première vue loin du courant "mainstream" peuvent déclencher l’engouement du public. Retour sur sa fabrication avec Krzysztof Trojnar, le directeur de la photographie des quatre premiers épisodes, réalisés par Weronika Tofilska. (FR)

Avec Conclave, le cinéaste Edward Berger (All is Quiet on the Western Front, lauréat de multiples Oscars dont celui de la Meilleure photographie en 2023 pour James Friend, BSC), change radicalement d’univers et décide d’adapter un roman qui raconte comment l’élection du nouveau pape s’effectue au Vatican. Servi par un casting éblouissant (Ralph Fiennes, Stanley Tucci, Isabella Rossellini...), le film navigue entre investigation, secrets d’alcôves et campagne politique entre cardinaux. C’est Stéphane Fontaine, AFC (De battre mon cœur s’est arrêté, Un prophète, Jackie...) qui est derrière la caméra cette fois-ci. Il vient nous parler de ce Vatican reconstitué à Cinecittà, de visages et comment les filmer... et de la couleur rouge, qui habite régulièrement l’image. Conclave est présenté en avant-première européenne à Camerimage et concourt pour la Grenouille d’or dans la Compétition principale. (FR)