Yves Brover Rabinovici

J’ai rencontré Yves en 1977 sur un film de série B au titre évocateur : La Frisée aux lardons. J’étais assistant caméra, il était chef décorateur. La sympathie a été évidente et immédiate, elle dure encore.

J’ai rencontré Yves en 1977 sur un film de série B au titre évocateur : La Frisée aux lardons. J’étais assistant caméra, il était chef décorateur. La sympathie a été évidente et immédiate, elle dure encore.

Starring Mathieu Kassovitz, Céline Sallette, David Gastou, French release : 29 October 2014.
Vie Sauvage was filmed over a 9-week period, between the summer of 2013 and the winter of 2014, mostly between Carcassonne and the Cevennes. The film was entirely shot using two shoulder cameras and all-natural lighting.

Teaming up with Michel Franco for the sixth time, Yves Cape, AFC, has brought Dreams to life, featuring Jessica Chastain, who previously starred in their last film, Memory. A dark study of passion between a powerful American woman and a charming young Mexican immigrant, the film mainly addresses the everyday racism in the United States. Dreams also gives star dancer Isaac Hernández the opportunity to play a tailor-made role, portraying a character navigating between passion and disappointment. The film is in the Official Competition at the 2025 Berlinale.

At the first edition of the AFC Awards for excellence in cinematography, held on Wednesday February 7, 2024, as part of the 24th Micro Salon, Yves Cape, AFC, took the prize for Best Cinematography in a feature film, with Michel Franco’s Sundown. In this lengthy interview, published in two parts, Caroline Champetier, AFC, asks Yves Cape about his loyal (six films to date) and original collaboration with Mexican director Michel Franco.

Lors de la première édition des Prix AFC, récompensant l’excellence du travail de direction de la photographie et dont la cérémonie de remise des trophées a eu lieu le mercredi 7 février 2024, dans le cadre du 24^e Micro Salon, c’est Yves Cape, AFC, qui a remporté le prix de la Meilleure photographie pour un long métrage de fiction, avec Sundown, de Michel Franco. Dans ce long entretien publié en deux parties, Caroline Champetier, AFC, questionne Yves Cape sur cette collaboration fidèle (six films à ce jour) et originale avec le réalisateur mexicain Michel Franco.

A signaler dans le numéro hors série Cannes 2006 du technicien du film daté du 24 mai l’entretien accordé à François Reumont par Yves Cape qui évoque son travail sur Flandres de Bruno Dumont. (...)

• Lire l’entretien accordé par Yves Cape à Brigitte Barbier pour l’AFC

Au début des années 1970, à Meknès au Maroc, l’Empire était un cinéma où les films sortaient le même jour qu’à Paris. Bâti à l’époque coloniale, ce cinéma avait sur l’adolescent qu’était alors Yves Angelo un puissant pouvoir d’attraction.

Eric Guichard : Yves Cape, hello. Two films that you’ve photographed were in competition at the 2009 Venice Film Festival. Let’s talk about both films, but perhaps we can begin by talking about the one by Patrice Chereau.

You spoke to me about doing tests with the Red, but you ended up shooting in 35 mm. When did you decide to do these tests in Red and why the final choice of 35 mm ?
}}Yves Cape : During one of my first encounters with Patrice Chereau, he discussed the possibility of making a film in HD without being specific. He wanted to know if I was up for it. Without hesitation, my answer was yes. Once it was established that I was doing the film, Patrice told me his idea : he had documented one of his plays with the Red and had been surprised by the quality. He wanted to explore that option to see what it could bring from an aesthetic and an economic standpoint.

In the early 1970’s, in Meknes, Morocco, the Empire Theatre was a venue where films were released on the same day they were in Paris. Built in the colonial era, that theatre had an enormous impact on young Yves Angelo.