Hélène Louvart, AFC, Darius Khondji, AFC, ASC, and Eric Gautier, AFC, talk about their shooting on Kodak film

par Kodak La Lettre AFC n°307

[English] [français]

In 2019, three AFC directors of photography used Kodak film for the shooting of one of their movies. Hélène Louvart shot Eliza Hittman’s Never Rarely Sometimes Always on 16mm, Darius Khondji shot Benny and Josh Safdie’s Uncut Gems on 35mm, and Eric Gautier shot Hirokazu Kore-eda’s The Truth on 35mm 2-perf. Here are the links to the articles in which each of them talks about his experience.

Read or read again :
- Kodak 35mm puts in a versatile, cost-effective performance on Alice et le Maire (DoP Sébastien Buchmann, AFC)

- Kodak 35mm film delivers warmth and love to Chambre 212 (DoP Rémy Chevrin, AFC)

- Shot on Kodak S16mm, Lazzaro Felice releases in the UK to rave reviews (DoP Hélène Louvart, AFC)

- Kodak 35mm delivers a poetic result on Cannes Festival screener Les Confins Du Monde (DoP David Ungaro, AFC)

- DP Rémy Chevrin AFC, cinematographer of 2018 Cannes competition screener Sorry Angel, urges more filmmakers to shoot on film and regain artistic control

- Director Jaime Rosales goes all out for 35mm film production and post on his powerful family drama Petra (DoP Hélène Louvart, AFC)

- Discover how DP Eric Gautier AFC used Kodak 35mm to deliver an emotional, sensuous period aesthetic on The Mercy

- DP Philippe Le Sourd AFC creates bewitching looks on Kodak 35mm for Sofia Coppola’s The Beguiled

- Kodak 35mm delivers the emotional and cinematic canvas for WWII thriller The Man with the Iron Heart (DP Laurent Tangy, AFC)