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My role in this Degree Show is being a videographer, shooting short clips for social media. The videos I've shot so far are 'fit checks' of my university friends to see what their style is, and asking them about the concept behind their thesis projects at the event.

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The documentary utilizes the establishment's makeup room not as a space of glamour, but as a liminal, industrial zone where the daily reality of the sex industry is most visible. By keeping the camera locked onto the vanity mirrors, we capture the psychological toll of the routine. The mirror acts as a daily audit where the subjects must confront their reflections and systematically construct their working personas.

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For this sequence, P'Pla allowed us into her private space, giving us a glimpse into her everyday living conditions. Most of our footage focuses on her sitting in her regular spot right in front of the house—a subtle visual cue that there isn't much space or comfortable seating inside. But sitting there with her, you see her view: a wild, overgrown patch of trees that is unexpectedly, incredibly beautiful. There is a rawness to it—a completely unartificial nature. Looking at that unpolished scenery gave me a profound sense of clarity about the nature of life. It was a reminder that sometimes, the raw, unfiltered truth is deeply beautiful in its own way.

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1. Respectful, Deep Conversation

"If you're comfortable sharing, I'm curious about your life story and the path that brought you to this profession."

2. "Open-Ended Invitations." This allows her to set the boundaries and choose the topic,

while I act as an active listener waiting for a "hook" to connect to your interests.

3. The "Observational" Bridge (Linking to my interest)

Once she mentions something about her life (e.g., money, Family, freedom, or a struggle), I can link it back to her career path softly:

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On day one of the project, Masato and I hit the ground running with a location scout in Soi Thaniya, Silom. We spent hours just walking the streets, quietly observing the surrounding venues, the neon atmosphere, and the unique ecosystem of the nightlife scene there. We needed to understand the environment before we could film it. Eventually, we stepped inside P'Pla's actual bar. Standing right there in her space—taking in the dimensions, the lighting, and the mood—was a crucial step. It allowed us to visualize the space and start brainstorming the exact shots and angles we needed to tell her story truthfully.

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For our very first rough cut, we created 720p proxy files. The main goal at this stage wasn't to worry about high resolution, but simply to get the footage onto the timeline, test the sequence, and figure out how the story was actually going to flow. After experimenting with the edit, we finally locked in the core structure of the film. We decided to build the narrative using two distinct tracks: the sit-down interview, and an observational "day in the life" following P'Pla. The "day in the life" footage will follow her chronologically from when she wakes up to the end of her night shift. We are going to continuously cross-cut this linear footage with pieces of her interview from start to finish. In this current draft, we haven't built the intro sequence yet—we are focusing purely on getting the main body of the story to work first.

Currently, this first draft is only about 50% complete. The opening sequence lacks narrative clarity and requires further shaping, several key scenes are pending insertion into the timeline, and the film currently lacks any musical score.

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An establishing shot is the visual shorthand of cinema. Usually placed at the beginning of a scene, its primary job is to provide context by showing the audience where and when the action is about to take place.Think of it as the "Once upon a time..." of visual storytelling.Why It Matters Without an establishing shot, the audience can feel disoriented. It anchors the viewer by establishing three key pillars: Geography :  Time : Scale : It introduces the relationship between the characters and their environment—often making them look small and vulnerable or part of a massive system.

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Day two of production was split into two shifts: a morning queue and a night queue. The morning shoot at P'Pla’s house went incredibly smoothly. We intentionally kept the crew very small—just me, Masato, Keen, and P'Ford. To capture the most authentic, unposed version of P'Pla, we actually started by shooting guerilla-style. We hid in the overgrown bushes and filmed her from a distance before she even knew we were rolling. Because she was completely unaware of the cameras, the resulting footage is incredibly natural. Being at her home was an eye-opening experience. We got to observe the neighborhood's simple, content way of life: locals setting up card games behind their houses, toddlers making toys out of random objects, and primary school kids casually fishing by the canal. It was such a fun, fulfilling day on set. I really hope we get to visit P'Pla there again

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Day one of production was undeniably chaotic and exhausting. We were operating with a large crew and a heavy footprint of equipment—rigging lights, multiple cameras, and a full audio setup in tight spaces. Our schedule was split into two main blocks: the master interview with P'Pla and the morning sequence in her makeup room. Overall, we got the footage we needed, but we hit a significant hurdle during the interview. We shot it right after P'Pla’s shift ended, meaning she was already quite intoxicated. Her speech was slurred, and she was struggling to communicate clearly, forcing us to patiently repeat questions over and over to find the core of her answers. On the flip side, the morning shoot in the makeup room was an absolute dream. P'Yai, the makeup artist, was incredibly cooperative. He interacted with P'Pla and the camera with an unbelievable naturalness that you rarely see in non-actors, balancing out the struggles of the night shoot perfectly.

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For this scene, we brought the cameras down to the street level to capture the true starting point of their shifts. Before anyone goes up to the bar, the staff come down to sit on chairs at the entrance of the alley to call out and attract potential customers. Once they secure a client, they lead them upstairs. We wanted to capture this because it provides a very raw, unfiltered look at their daily work life and the pure hustle it takes to make a living here. Watching P'Pla and the rest of the women out there doing this every single night really emphasizes the repetitive, grinding reality of their profession.

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1. A Family Formed from Broken Pieces

The Shibata family isn't a family by birth, but by collection. Each member has been abandoned, neglected, or cast out by their biological relatives:

Osamu and Nobuyo: A couple who seem unable to have children of their own, they fill the roles of "father" and "mother."

Hatsue: The "grandmother" owns the small apartment. She has been abandoned by her ex-husband's family but still collects money from them.

Aki: The "older sister" is Hatsue's biological granddaughter from a different family, but she has chosen to run away from her wealthy, emotionally distant parents to live in poverty with Hatsue.

Shota: The "son" was found abandoned in a car as a young boy and taken in by Osamu and Nobuyo.

Yuri (later named Lin): The youngest "daughter" is a victim of severe parental abuse and neglect, whom the family spontaneously decides to take in after finding her shivering on a balcony.

This group is a mosaic of society's forgotten people. Their connection isn't based on a shared past or genetics, but on a shared present and a mutual need for belonging.

2. Family Is an Action, Not a Title

The film's most powerful statement is that "family" is something you do, not something you are. We see this through countless small, intimate moments that feel more authentic than many traditional family portraits:

Shared Rituals: Their primary bonding activity is shoplifting, which Osamu teaches Shota as a twisted but intimate form of father-son inheritance. It's their survival mechanism and their shared culture.

Genuine Care: When Yuri has a nightmare about her abusive parents, Nobuyo holds her tightly, offering the maternal comfort she never received. She later burns Yuri's old clothes in a symbolic act of erasing her past trauma and welcoming her into their fold.

Unspoken Love: The iconic scene at the beach is the only time they act like a "normal" family. As the others play, the grandmother, Hatsue, watches them and silently mouths "Thank you," suggesting that this found family has given her more joy and peace than her biological one ever did.

These actions stand in stark contrast to the failures of their biological relatives, raising the central question: Who is the better parent? The one who gives birth to you and abuses you, or the one who kidnaps you and loves you? This is crystallized when Nobuyo tells the police, "Does giving birth automatically make you a mother?"

3. The Fragility of a Chosen Family

Because their family has no legal or biological standing, its existence is incredibly fragile. Their bonds are built on a foundation of crime, secrets, and lies, making them vulnerable to the outside world. When society finally intervenes, it deconstructs their family with brutal efficiency.

The authorities cannot comprehend their relationship. To them, Osamu and Nobuyo are not parents but kidnappers. Shota and Yuri are not their children but victims. The law only recognizes bloodlines, and in its eyes, this family simply does not exist. The tragedy is that in "saving" the children by returning them to institutions or their original, broken homes, the system destroys the only real love and stability they have ever known.

Conclusion

Shoplifters doesn't romanticize its central family—they are flawed, manipulative, and live by a questionable moral code. However, it forces the audience to look past those flaws and see the undeniable love and tenderness that binds them. Kore-eda suggests that the definition of family is not written in DNA but in the daily acts of compassion, protection, and sacrifice. The film is a quiet but devastating critique of a society that prioritizes legal and biological ties over genuine human connection, ultimately arguing that the family you choose can be the most real family of all.

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To make P'Pla's character feel authentic and relatable, the documentary shows her unique daily rhythm. Since she works through the night, P'Pla’s day only really starts in the afternoon. The camera quietly follows her as she goes about everyday chores like cooking and laundry. These scenes slow down the film’s pace, giving viewers a calm and reflective break from the hectic pace of her nightlife. By focusing on these ordinary routines, the film presents her daytime life as peaceful, straightforward, and something anyone can connect with.

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When the shop finally closes, P'Pla is usually the last person left. She is the one who locks the doors. Have been there for over 30 years, this place has truly become her second home. Witnessing this routine, I knew I had to capture a scene of her completely alone in the shop after hours. We filmed the quiet atmosphere and the solitary mood of the night, with only her remaining in the empty space. Sometimes, looking at this footage makes me wonder—what is she thinking about in those silent moments? Does she feel at peace with herself?

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We know society often has strong opinions about women who work in the nightlife industry, especially in karaoke bars. People tend to see them only through the lens of their jobs, leading to many unfair stereotypes. With this documentary, I wanted to shift that perspective. My aim was to show these women as regular people, with everyday lives, emotions, and challenges—just like anyone else, working within the limits life gives them.

I didn’t want this film to be about drama or shock value. Instead, we focused on the real, daily moments and gave the women space to share their stories in their own words. I hope this helps break down some of the outside judgment and makes room for genuine understanding.

Rather than questioning why they ended up in nightlife work, we looked at what choices they actually had. It’s work—just like any other job people do to get by. Through this approach, I hope the film brings out their humanity and maybe gets us all to think twice about the social attitudes that tend to label and limit them.

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Emphasis on rhythm and association. The editor focuses on the visual and emotional rhythm created by a succession of images, rather than on the logical continuity of a scene. The editing process is like composing a poem, where the cuts are like line breaks, and each shot carries significant meaning.

Juxtaposition and symbolism. Editors create meaning by juxtaposing contrasting or similar images, relying on the audience to find the connections. For example, editing together a rigid grid and rippling grass can evoke a specific feeling or idea. The technique is influenced by Soviet montage, which explored how the rhythm, flow, and symbols created through editing could generate new meanings.

Lack of traditional narrative. Poetic editing often dispenses with linear plots, character development, and narrative resolution. The goal is to evoke a mood or feeling rather than tell a coherent story.

Subjectivity. Instead of presenting an objective, fact-based truth, poetic editing offers a subjective, often abstract, interpretation of a topic. This is a common approach in the poetic documentary mode.

Heightened use of sound. Sound design is a critical component of poetic editing. Sound and music are used not just to support the images but to create an emotional atmosphere and inform the film's overall rhythm.

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Documentary Film | Research Starters | EBSCO Research

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A documentary film is a genre that aims to present factual information in a creative format, often focusing on real-life events, people, or issues. The term "documentary" was coined by Scottish filmmaker John Grierson in 1926, who described it as "the creative treatment of actuality." While no single definition is universally accepted, documentaries are typically categorized into various types, such as expository, observational, and participatory, each emphasizing different storytelling techniques and perspectives. The development of documentary filmmaking can be traced back to the late 19th century, with significant advancements occurring during and after World War I, as filmmakers sought to document real events and societal issues.

By the late 20th century, documentaries gained mainstream popularity, with notable films addressing topics like social justice, environmental issues, and historical events. Renowned directors, including Ken Burns and Michael Moore, have significantly influenced the genre, often using innovative techniques to engage audiences. Documentaries have also found a substantial platform in television and streaming services, with entire channels dedicated to the genre. Additionally, documentaries have the power to shape public perceptions, as seen in influential works like "An Inconvenient Truth." Overall, documentary films continue to evolve, reflecting the complexities of contemporary society while striving to inform and engage viewers.

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Nichols’ book is a foundational text in documentary film studies. Rather than a history of the genre, it’s a conceptual and theoretical guide — built around a series of guiding questions

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Main Themes

1. Defining Documentary

A documentary isn’t a “reproduction” of reality but a representation of it — a creative interpretation of the world.

Nichols distinguishes two broad categories of film:

Fictions (wish-fulfillment)

Documentaries (social representation)

Both use storytelling, but documentaries claim to show the world we share, rather than an imagined one.

2. Ethics and Representation

The central question: “What do we do with people when we make a documentary?”

Filmmakers have moral obligations because they work with real people, not actors.

Nichols introduces the idea of “social actors” (real participants) and stresses informed consent, respect, and awareness of how filming changes behavior.

The filmmaker–subject–audience triangle can take many forms, such as:

“I speak about them to you.”

“We speak about us to you.”

“I speak about myself to you.”

Each form implies a different ethical and political stance.

3. How Documentaries Differ from Fiction

Documentaries are judged not by realism alone but by their rhetorical and moral stance — how they make meaning and persuade.

They are “fuzzy” concepts: no single technique or formula defines them.

They rely on conventions (interviews, voiceovers, observational footage) that evolve over time.

4. The Six Modes of Documentary (Chapter 6)
Nichols classifies documentary styles into six modes, each with its own conventions and goals:

1. Poetic – emphasizes mood, tone, and form (e.g., Rain, Berlin: Symphony of a City).

2. Expository – uses narration (“Voice of God”) to explain and argue (The City, Why We Fight).

3. Observational – fly-on-the-wall style, minimal interference (Primary, Salesman).

4. Participatory – filmmaker interacts with subjects (Chronique d’un été).

5. Reflexive – draws attention to the filmmaking process itself (Man with a Movie Camera).

6. Performative – personal, expressive, emotional, often identity-driven (Tongues Untied).

➤ These modes overlap — most documentaries mix elements from several.

5. Nichols’ Key Contribution

He reframes documentary as a form of discourse, not just a visual record.

Every documentary has a “voice” — a way of speaking about the world that reveals its values and assumptions.

Documentary is a rhetorical art: it seeks to persuade, not just inform.

🧩 Analytical Takeaway

Nichols helps students and filmmakers:

Recognize ethical stakes in representing others.

Understand how style = argument.

See documentary as a conversation between filmmaker, subject, and audience — always historically and politically situated.

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the sense of the human eye and the simplicity. 

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the sense of the human eye and the simplicity. 

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Call Me By Your Name is a 2017 feature film directed by Luca Guadagnino shot around the city of Crema in Italy. What makes the cinematography of this feature interesting is that it was completely shot using only one lens - the Cooke S4 35mm.
Thai cinematographer Sayombhu Mukdeeprom, who shoots only on film, was glad to work as DP with the director on this romantic drama, and he appreciated the light conditions available as he walked around the locations prior to the production of the movie. His Camera Setup for this feature film was ARRI Arricam LT 35mm with a single Cooke S4 35mm lens filming on a Kodak 500 vision 3 film. Shooting the whole film with only one lens contributed to the simplicity of its cinematography.

Initially, this idea did not come from the DP itself, but from director Luca Guadagnino. Mukdeeprom gladly accepted the challenge, as he wanted to focus on different aspects of the cinematography other than the choice of focal length for each scene. In his own words Mukdeeprom said: "The producer asked me, should there be some other, wider lens? Just in case? I said 'No, no. I want to tie my hand to this approach, because this is how I work. I think if you limit yourself to something, you struggle inside your idea". I agree with him - by limiting one aspect of the puzzle, one can concentrate more on other aspects and therefore become more creative.

Mukdeeprom's initial enthusiasm about the one-lens idea got him thinking. When he finally got the green light to employ it, he wasn't so sure that it was right for the film at hand. For him as DP, it would mean a lot of extra work with planning the shots and knowing the film's locations very well. But he kept at it and shot the film that way.

In this short cut-out from an interview Luca Guadagnino shortly explains what was the idea behind using only one lens:

The idea of using a Cooke S4 35mm lens for shooting the whole movie was to get the sense of the human eye and the simplicity. Director Guadagnino wanted the space to breathe still.

Other challenges of the shooting were the weather conditions. Mukdeeprom's initial idea was to shoot only with natural light, but that later proved impossible due to exceptionally heavy rains in Italy at that time. The crew ended up using lots of light equipment - from 4K up to 18K ARRI Fresnels - because it was often cloudy, giving them only very few sunny moments. He also mentioned in an interview how shooting on film gave him the freedom to play with color grading and the final look of the film.

Call Me By Your Name ended up getting several nominations and prizes for best cinematography for Mukdeeprom. After this movie, him and Luca Guadagnino worked together on another feature, the horror Suspiria, for which they used a whole variety of lenses.
Do you agree with limiting one of the aspects of cinematography, like for instance lens selection? If you have seen the movie, did you like how the cinematography turned out? Let us know in the comments below.
Via Deadline and Indiewire

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"Call Me By Your Name" - A Feature Film Shot with Only One 35mm Lens | CineD

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Call Me By Your Name is a 2017 feature film directed by Luca Guadagnino shot around the city of Crema in Italy. What makes the cinematography of this feature interesting is that it was completely shot using only one lens - the Cooke S4 35mm.

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slow-paced and consist of blue toned visuals with little to no bright lights. The films are mostly dark and show the harsh reality of what children or adults can face in their lives, even if it is not very common.

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The Grimy Poetry of Existence: A Look at the Cinematography of "Ratcatcher"

In Lynne Ramsay's raw and evocative 1999 debut feature, "Ratcatcher," the cinematography, crafted by Alwin H. Küchler, transcends mere documentation of a grim reality. It plunges the viewer into the subjective, sensory world of a young boy navigating a sprawling Glasgow housing scheme during a 1970s garbage strike. The film's visual language is a masterful blend of bleak social realism and a lyrical, almost dreamlike, poetry, creating a haunting and unforgettable aesthetic that lingers long after the credits roll.

Küchler's lens captures the oppressive squalor of the setting with an unflinching eye. The mountains of black bin bags, the grimy textures of the concrete flats, and the murky, stagnant waters of the canal are rendered in a palette of desaturated colors. This deliberate choice drains the vibrancy from the world, reflecting the hopelessness and decay that permeate the lives of the characters. The lighting often feels naturalistic, utilizing the overcast Scottish sky to cast a soft, melancholic gloom over the proceedings. Yet, within this grim tableau, moments of startling beauty emerge. A recurring motif of sunlight breaking through the clouds or illuminating dust particles in a darkened room offers fleeting glimpses of hope and innocence amidst the hardship.

The camera work in "Ratcatcher" is intimate and deeply personal. Küchler frequently employs close-ups, focusing on the small details of the characters' world: the texture of a loaf of bread, the scuffed leather of a new pair of sandals, the flicker of emotion in a child's eye. This haptic quality, a signature of Ramsay's directorial style, invites the audience to experience the world not just visually, but almost tangibly. The camera often stays low, mirroring the perspective of its young protagonist, James, immersing the viewer in his world and his perceptions.

One of the most celebrated aspects of the film's cinematography is its ability to seamlessly shift between the brutal reality of James's life and his moments of imaginative escape. In a key sequence, James takes a bus to the edge of the city and discovers a new, unfinished housing development. The cinematography here transforms. The color palette warms, the light becomes golden and ethereal, and the camera movements become more fluid as James explores a pristine, empty house and frolics in a vast field of wheat. This stark visual contrast powerfully conveys the character's yearning for a better life, a world untouched by the decay of his own.

The compositions in "Ratcatcher" are often painterly in their precision. Ramsay and Küchler frame shots with a careful consideration for lines, shapes, and negative space, creating images that are both aesthetically striking and thematically resonant. The recurring image of the canal, a site of both tragedy and a strange kind of beauty, is captured in wide, static shots that emphasize its ominous presence in the landscape and in the lives of the children who play near its banks.

In essence, the cinematography of "Ratcatcher" is far more than a simple recording of events. It is an active participant in the storytelling, shaping the film's tone, themes, and emotional impact. Through Alwin H. Küchler's masterful lens, the grim realities of poverty are imbued with a poetic and deeply human quality, resulting in a film that is as visually stunning as it is emotionally devastating.

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General Features to Look for in any iPhone for Documentary:

ProRes Video: This is key for serious filmmaking as it gives you more data to work with in post-production.

Cinematic Mode: Useful for interviews or specific storytelling shots where you want to draw attention to your subject with a shallow depth of field.

Action Mode: Incredible for run-and-gun shooting, following subjects, or any situation where you need super stable handheld footage without a gimbal.

Optical Zoom Lenses: The more versatile your lens options (ultrawide, wide, telephoto), the more creative you can be with your shots.

Battery Life: Documentary filming can be long, so better battery life means fewer interruptions.

Storage: Video files, especially ProRes, are large. Get as much internal storage as you can afford, or plan to use external drives (especially with iPhone 15 Pro/Max).

Things to Research Further:

1. External Microphones: The built-in iPhone mics are decent, but for professional documentary audio, you must use an external microphone. Research:

Lavalier Mics (wired or wireless): For interviews and dialogue.

Shotgun Mics: For capturing ambient sound or dialogue from a distance.

Adapters: You'll likely need a Lightning to 3.5mm adapter or a USB-C hub/adapter depending on your iPhone and mic.

2. External Lenses: While iPhones have great built-in lenses, companies like Moment, SmallRig, and Sandmarc make external lenses (wide-angle, anamorphic, macro, telephoto) that can clip on or screw into a case, expanding your creative options.

Anamorphic Lenses: Can give you a wider, more "cinematic" aspect ratio with characteristic lens flares.

Wide-angle Lenses: For establishing shots or tight spaces.

3. Gimbals/Stabilizers: Even with Action Mode, a physical gimbal can provide incredibly smooth, professional-looking footage. Research:

DJI Osmo Mobile series: Popular and effective.

Zhiyun Smooth series: Another strong contender.

4. Filming Apps: While the native camera app is good, third-party apps offer more manual control over video settings:

FiLMiC Pro: Considered the gold standard for serious iPhone videography, offering full manual control over exposure, focus, white balance, frame rates, and more.

Blackmagic Camera: A powerful, free option from Blackmagic Design, offering pro-level controls and a UI similar to their cinema cameras.

5. Lighting: Good lighting is crucial for any film. Research:

Portable LED panels: Small, dimmable lights for interviews or adding fill.

Natural Light techniques: How to best use available light.

6. Editing Software:

On iPhone/iPad: LumaFusion (paid, very powerful), iMovie (free, simpler).

On Computer: DaVinci Resolve (free professional option), Adobe Premiere Pro, Final Cut Pro.

7. Color Grading: This is where you define the visual "aesthetic" of your documentary. Learn the basics of color correction (fixing exposure/white balance) and color grading (applying a look or mood).

By combining a capable iPhone model with these accessories and techniques, you can achieve a truly professional and aesthetically pleasing documentary film.

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Blake Snyder’s Save the Cat! is a practical screenwriting guide that simplifies story structure into a 15-beat “beat sheet”. The title comes from the idea that your protagonist should do something early on (like “saving a cat”) that makes the audience root for them.

Core Ideas:

1. The Logline – Boil your story down to a single compelling sentence.

2. The Genre – Snyder redefines genres as “story types” (e.g., Monster in the House, Buddy Love, Golden Fleece).

3. The Beat Sheet (15 Beats) – A clear roadmap for plotting:

Opening Image

Theme Stated

Set-Up

Catalyst

Debate

Break into Two

B Story

Fun & Games

Midpoint

Bad Guys Close In

All Is Lost

Dark Night of the Soul

Break into Three

Finale

Final Image

4. Save the Cat Moment – Show the hero’s humanity early to hook the audience.

Tips for Making a Good Film (from Save the Cat! and filmmaking practice)

1. Make the Audience Care About Your Protagonist

Give them flaws, vulnerability, or a “Save the Cat” moment.

2. Have a Clear Theme

Early in the film, hint at the lesson the hero will learn.

3. Stick to Structure, But Leave Room for Surprise

Use the 15 beats as a skeleton, but keep your story fresh.

4. Conflict Drives Story

Every scene should have tension or a question that pushes the film forward.

5. Show Transformation

A strong character arc (flawed at the beginning, changed at the end) is essential.

6. Visual Storytelling

“Show, don’t tell.” Use images, actions, and subtext instead of too much dialogue.

7. Know Your Genre Promise

Audiences expect certain things (laughs in comedy, scares in horror). Deliver them, but add your unique twist.

8. Start Strong, End Strong

Opening and final images should mirror each other, showing how the hero has changed.

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How to Write Your FIRST Screenplay (Step by Step Guide)

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How To Write A Screenplay (For Beginners)

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Think Visually: Write in a way that helps the director and actors visualize the story.

Show, Don't Tell: Use actions and descriptions to convey emotion and information, rather than relying on exposition.

Embrace Revision: Be prepared for extensive rewriting and feedback from directors and producers.

Create Dynamic Relationships: Build compelling relationships between characters to drive the plot.

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1. Generate Ideas:

Start with a core idea or concept for the story.

2. Develop Characters:

Create well-rounded characters with clear motivations, unique voices, and relatable flaws.

3. Outline the Plot:

Structure the story using a three-act structure to guide the narrative from beginning to end.

4. Write the First Draft:

Focus on getting the story down without being overly critical, using the "show, don't tell" principle to translate ideas into visual action and dialogue.

5. Revise and Refine:

Multiple rounds of editing are crucial to tighten dialogue, clarify motivations, ensure each scene serves a purpose, and polish the story.

6. Format the Script:

Use standard screenplay format, or screenwriting software, to ensure a clear and professional presentation for production teams.

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The next sequence focuses on the neighborhood surrounding P'Pla's home. At first glance, an outsider might just see a congested, overcrowded community—the kind of place many would consider undesirable to live in. But for me, filming this area revealed a profound kind of beauty. It lays bare the harsh social and economic realities of our current times, but against that difficult backdrop, you get to witness people hustling and fighting to survive with incredible grace. Seeing this community strive to create a life for themselves in the face of such daily struggle is a deeply beautiful and humbling thing to capture.

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Securing this interview with P'Pla was incredibly difficult. Gaining access to film a documentary about the hidden, darker corners of Bangkok requires immense sensitivity. The biggest challenge—and our most important goal—was figuring out how to capture her reality as naturally and truthfully as possible. To achieve this, I focused on three essential steps:

First, I needed P'Pla to feel completely comfortable with us and to understand that we view her simply as a human being, not a spectacle. Before bringing any cameras, I met with her two or three times just to talk about life and build a genuine connection. We shared a few drinks during these meetups, which really helped break the ice and foster a sense of easy familiarity.

Second, we established clear boundaries. I asked P'Pla directly what we were allowed to film and what was strictly off-limits, specifically discussing our access to both her workplace and her private home.

Finally, we tackled the logistics. We carefully coordinated our schedules, setting up precise appointments to ensure smooth filming at both the shop and her house without disrupting her routine.

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1. No Crying at the Dinner Table (2019) ‧ ( Documentary/Drama ‧ 16 mins )

Filmmaker Carol Nguyen interviews her own family to craft an emotionally complex and meticulously composed portrait of intergenerational trauma, grief, and secrets in this cathartic documentary about things left unsaid.

2. Shoplifters (2018) ‧ ( Crime/Thriller ‧ 2h 1m )

Family Is an Action, Not a Title

The film's most powerful statement is that "family" is something you do, not something you are. We see this through countless small, intimate moments that feel more authentic than many traditional family portraits:

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from the Newyorker

Carol Nguyen started a project about a fictional family but ended up making a real documentary about her own Vietnamese-Canadian family instead.

Her plan was simple: she interviewed her mother, father, and sister one-on-one, asking them about their hidden feelings and painful memories. Then, she filmed them all sitting together at the dinner table as they listened to the recordings of each other's secrets for the first time.

The film is called “No Crying at the Dinner Table” because Carol grew up in a family that didn't openly share their sadness. Her parents, who had lived through the war in Vietnam, passed down their trauma, making it hard for their children to express their own grief.

The interviews revealed things they had never discussed:

Her mother admitted she never learned to hug or kiss her own parents.

Her sister spoke about the lasting sadness she felt after their grandparents died.

Her father shared a heartbreaking secret: he felt guilty for his brother's suicide and had never spoken about it before.

Carol expected her family to listen to the recordings in silence. Instead, something amazing happened: they began to cry and comfort each other. The process of making the film didn't just document their family; it actually helped them heal. For the first time ever, they started saying "I love you" to one another.

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This film is a portrait of an 8-year-old girl, Chama, who has a deep bond with her horses. Growing up together in the serene mountainous region of Kanchanaburi, Thailand, with full of love and support from her family, Chama and her horses share a remarkable companionship that has made Chama a prodigy in horse riding. The film captures the simple yet profound relationship between a human and an animal that transcends language and culture. With its poignant storytelling and stunning visuals of the Thai countryside, this short documentary will remind us of the beauty and wonder that can be found in our everyday lives.

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This film is a portrait of an 8-year-old girl, Chama, who has a deep bond with her horses. Growing up together in the serene mountainous region of Kanchanaburi, Thailand, with full of love and support from her family, Chama and her horses share a remarkable companionship that has made Chama a prodigy in horse riding. The film captures the simple yet profound relationship between a human and an animal that transcends language and culture. With its poignant storytelling and stunning visuals of the Thai countryside, this short documentary will remind us of the beauty and wonder that can be found in our everyday lives.

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After a near-fatal car accident, Alex’s life completely changed. This is a conversation between Alex and his mother Janet.

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After a near-fatal car accident, Alex’s life completely changed. This is a conversation between Alex and his mother Janet. Awards : - Shortlisted for BAFTA Student Film Awards 2017
- Won Best Documentary Short Film / Manhattan Independent Film Festival 2017
- Won Best Dramatic Documentary Short / Atlanta Docufest 2017
- Won Best Documentary Film / Long Island International Film Expo 2018 Official Screenings : - DC Independent Film Festival 2017
- Berlin Student Film Festival 2017
- Toronto Film Week 2017
- New York Film Week 2017
- 30under30 Film Festival 2016
- Toronto Independent Film Awards 2016

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In the article "Ratcatcher: A Flashlight Cinema" from The Criterion Collection, writer Girish Shambu explores the cinematic style of Lynne Ramsay's debut feature, "Ratcatcher." Shambu argues that the film masterfully synthesizes narrative drama with a poetic and sensory exploration of its subject matter, challenging the conventional opposition between realism and poetry in cinema.

The article highlights Ramsay's ability to create a "vertical investigation" of moments, lingering on details and using the full power of the medium to evoke emotions and meanings that transcend simple storytelling. This is evident from the film's opening shot—a slow-motion close-up of a child's face wrapped in a lace curtain—which is rich in both visual and aural texture, creating a sense of lyricism, dread, and uncertainty.

Shambu also discusses how this poetic approach is interwoven with a compelling narrative. The story follows James, a twelve-year-old boy living in a Glasgow slum during a garbage strike in 1973. He is haunted by guilt after the accidental death of a friend. The film's setting is depicted with a stark realism, from the rat-infested streets to the run-down tenements. However, Ramsay injects moments of surreal beauty and fantasy into this grim environment, such as when a pet mouse is sent to the moon on a balloon, or when James discovers a field of golden wheat at the edge of the city.

The article concludes that Ramsay's artistic project in "Ratcatcher" is to unite the social and the surreal. The film's power lies in its ability to find moments of transcendence and humanity within a harsh and unforgiving world, making it a significant work of Scottish and international cinema.

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In her astonishing debut feature, Lynne Ramsay synthesizes narrative drama and poetic exploration, the social and the surreal.

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This short documentary will present warmth and intimacy by following P'Pla 's daily life, focusing on realistic, unembellished storytelling. The camera will act as a "hidden observer" within genuine situations to reflect the natural rhythm of her everyday life.

Additionally, we will experiment by having P'Pla film with a film camera herself to open a new perspective and deepen our understanding of what she values. The combination of P'Pla's film camera footage and the cinematic camera footage will allow the audience to experience the caregiver's "gaze" toward the house and the family she looks after, while simultaneously revealing their often-unspoken relationship and bond.

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Key Features & Controls

Manual Control: Tap on settings like ISO, frame rate, and white balance to manually adjust them.

Apple ProRes Recording: Record in industry-standard Apple ProRes files for high-quality footage.

Professional Tools: Access tools like histogram for exposure monitoring, focus peaking to highlight sharp areas, and frame guides for framing shots.

LUTs (Look-Up Tables): Apply built-in LUTs to add a cinematic "look" to your video in real-time.

Blackmagic Cloud: Upload your proxy files or originals to Blackmagic Cloud Storage to collaborate with editors anywhere in the world.

Pro-Tips for Best Results

Use External Microphones: Improve your audio quality by connecting external microphones.

Lock Focus and Exposure: Tap on a subject to lock both focus and exposure for a consistent look.

Create Presets: Save your preferred settings as presets for quick access when you need to film.

Turn Off Orientation Lock: Disabling orientation lock allows you to film in landscape mode.

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Master Blackmagic iPhone Camera App - FULL Guide tutorial

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Extending from the “kitchen-sink dramas” of the early sixties to contemporary masters like Ken Loach and Mike Leigh, the tradition of social realism in British film runs strong.

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poetic realism or lyrical social realism.

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poetic realism or lyrical social realism.

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2. British & Irish Social Realism with a Lyrical Touch

This is a rich tradition in UK cinema, where filmmakers find profound artistry in depicting everyday struggles.

Fish Tank (2009) - Directed by Andrea Arnold: A modern masterpiece and perhaps the closest film in spirit to Ratcatcher. It follows a volatile teenage girl on a grim housing estate, capturing her world with a raw, handheld camera that is nonetheless filled with moments of fleeting beauty, especially when she dances.

Kes (1969) - Directed by Ken Loach: A foundational text for this genre. It tells the story of a troubled, working-class boy in a bleak mining town who finds an escape and a sense of purpose by training a kestrel. It’s unflinchingly real yet deeply poetic.

The Selfish Giant (2013) - Directed by Clio Barnard: A devastating and beautifully photographed film about two scrappy young boys in Bradford who get involved in the world of scrap metal dealing. It has the harshness of realism but the soul of a fable.

Hunger (2008) - Directed by Steve McQueen: While politically charged and physically intense, this film about the 1981 Irish hunger strike is a prime example of "body cinema." McQueen, like Ramsay, focuses intensely on the sensory and physical experience of his protagonist, creating a visceral and artistic portrayal of suffering and conviction.

3. International Poetic Realism & The Child's Perspective

This style is not limited to Britain. Many international directors have masterfully captured the world through the lyrical and subjective lens of a child.

The Florida Project (2017) - Directed by Sean Baker: The perfect American counterpart to Ratcatcher. Set in a budget motel in the shadow of Disney World, the film captures the magic, danger, and wonder of a childhood lived on the margins of poverty. The vibrant, sun-drenched cinematography is a brilliant contrast to the grim reality.

The 400 Blows (1959) - Directed by François Truffaut: A landmark of the French New Wave, this film follows the troubles of young Antoine Doinel. It blends a documentary-like realism of Parisian streets with a deeply personal and lyrical understanding of a child's feeling of rebellion and neglect.

The Spirit of the Beehive (1973) - Directed by Víctor Erice: A masterpiece of the child's-eye-view. Set in a small Spanish village after the Civil War, it follows a young girl whose inner fantasy life—sparked by seeing the film Frankenstein—collides with the silent, repressive world of the adults around her. The cinematography is famous for its dreamlike, honey-colored light.

George Washington (2000) - Directed by David Gordon Green: A stunning debut feature that is often compared to the work of Terrence Malick. It follows a group of children in a decaying industrial town over a summer. The plot is minimal; the focus is on the atmosphere, the stunning natural-light cinematography, and the quiet, poetic moments between the characters.

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Edit and Style

Although this is largely the work of the editor, Ramsay makes sure her films are put together in a certain style. The style of Ramsay’s films is very different – in the sense even though there is continuity, one scene could be heavy in music and visuals and the next scene will be completely silent and flat. There’s a lot of sudden shifts in scenes, however, this tactic works as it keeps the audience hooked and make them pay more attention to the film.

Compared to the last post for Fallen Angels, I talked about how the filmmakers used neon lighting and colours to show the busy city of Hong Kong. Similarly, Lynne Ramsay shows the town of Glasgow which is a complete opposite of Hong Kong. She shows the setting just how it was, nothing very extra and that reflects James’s time as well especially after his friend gone because the time is even slower.

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Kanji Watanabe is a middle-aged man who has worked in the same monotonous bureaucratic position for decades. Learning he has cancer, he starts to look for the meaning of his life.

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The first of an engrossing two-part essay on Kurosawa’s study on the morality of living and dying, Ikiru.

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The second part of an engrossing two-part essay on Kurosawa’s study on the morality of living and dying, Ikiru.

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The iPhone 13 Mini vs. 35mm Film | Camera Shootout

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Comparing the likes of a modern technological wonderpiece to that of an older 35mm camera. Why not?

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Ultimate Guide to Film Composition & Framing — Key Elements Explained [Shot List Ep. 11]

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Framing and Composition Cinematography: Going Beyond the 1/3 Rule — Pixel Valley Studio

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Most videos on framing and composition in cinematography focus on the 1/3 rule. But the creative art world has thousands of years of experience playing with composition. Let’s learn how they use symmetrical and asymmetrical balance, shapes like the circle, triangle, L, and others to guide the viewer

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ambient, electronic, and experimental music. It purposefully avoids the sweeping, melodic orchestrations of traditional Hollywood scores.

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ambient, electronic, and experimental music. It purposefully avoids the sweeping, melodic orchestrations of traditional Hollywood scores.

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Electronic Textures: He heavily uses synthesizers, drum machines, and processed sounds to create immersive and often unsettling soundscapes.

Ambient Layers: Much of his scoring focuses on atmosphere and mood over clear, distinct melodies. He uses drones (long, sustained notes), washes of sound, and subtle, shifting textures to create a palpable feeling or environment.

Minimalist Piano: When he does use traditional instruments, it's often a sparse, melancholic piano. He uses repeating, simple motifs that can be beautiful, haunting, or anxiety-inducing depending on the context.

Experimental Song Structures: For vocal tracks, he abandons typical verse-chorus structure. Songs like "Suspirium" from Suspiria are built on cyclical piano arpeggios and his signature falsetto, feeling more like a ghostly incantation than a pop song.

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 Psychology and Atmosphere 🧠 (Thom Yorke)

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 Psychology and Atmosphere 🧠 (Thom Yorke)

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The reason style is so effective is that it's designed to function differently than a conventional score.

It's an Extension of His Musical Identity: This style is authentic to him. A director chooses Thom Yorke because they want the specific, moody, and innovative sound he has been crafting for decades with Radiohead (think albums like Kid A) and his solo work.

Creating Internal, Psychological States: His music is less about telling you what's happening on screen and more about putting you directly into the character's headspace. The unsettling drones and anxious electronic pulses reflect a character's internal turmoil, paranoia, or dread, making the audience feel it on a subconscious level.

Building Atmosphere and Dread: For a film like Luca Guadagnino's horror film Suspiria (2018), his style is perfect. The score acts like a creeping, invisible character, filling the dance academy with a sense of unease and menace long before anything scary happens. It blurs the line between music and sound design.

Emotional Ambiguity: A traditional score often tells you exactly what to feel—sadness, joy, excitement. Yorke's music is more complex and ambiguous. A piece can sound both beautiful and terrifying at the same time, which is perfect for complex, psychologically driven films where the tone is not meant to be simple.

A prime example of his work is his full-length score for Suspiria, which is widely considered one of the best modern film scores. He also created the music for his own short film, Anima (2019), a collaboration with director Paul Thomas Anderson.

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Electronic Textures: He heavily uses synthesizers, drum machines, and processed sounds to create immersive and often unsettling soundscapes.

Ambient Layers: Much of his scoring focuses on atmosphere and mood over clear, distinct melodies. He uses drones (long, sustained notes), washes of sound, and subtle, shifting textures to create a palpable feeling or environment.

Minimalist Piano: When he does use traditional instruments, it's often a sparse, melancholic piano. He uses repeating, simple motifs that can be beautiful, haunting, or anxiety-inducing depending on the context.

Experimental Song Structures: For vocal tracks, he abandons typical verse-chorus structure. Songs like "Suspirium" from Suspiria are built on cyclical piano arpeggios and his signature falsetto, feeling more like a ghostly incantation than a pop song.

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“Koyaanisqatsi” is more than just a series of breathtaking images stitched up together; it feels like a poetic visual essay. There’s a message behind all the beautiful imagery and it is conveyed without uttering a single word of dialogue.

These films explore the relationship between humanity, nature, and technology through striking visuals

Reggio does not spoon-feed anything, the viewer is required to think for himself. It is only when you attempt to connect the dots or the relation between one shot and the other, that you start to grasp the film’s meaning.

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Relationship between a couple of scientists

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Relationship between a couple of scientists

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Documentary Filmmaking: Editing the Poetry of Life - With Francesco Clerici

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Ever wonder how documentary editors and filmmakers craft a compelling story from mountains of raw footage? In this article, we’re going to explore this challenging craft and give you a behind-the-scenes look at the documentary creation process with Italian filmmaker, Francesco Clerici. Frances

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After a near-fatal car accident, Alex’s life completely changed. This is a conversation between Alex and his mother Janet.

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Initial Plan: For his master's thesis, Kai wanted to film a documentary about Organ Procurement Organizations (OPOs) and the desperate wait for transplants.

The Pivot: After receiving no response, he had to find a new subject.

New Subject: He began filming a college student who was paralyzed in an accident and could only communicate with a computer, much like Stephen Hawking.

The Discovery: As filming progressed, Kai realized the real story wasn't just the student's struggle; it was the "magical" relationship with his mother. She understood his unspoken thoughts, often knowing what he wanted to say before he finished typing, revealing a profound connection of a mother and a son, which purely represents the universal understanding of "mothers instinct".

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The controversy of maintaining neutrality to be accepted vs adapting to new perspectives and theories to stand out. 

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The controversy of maintaining neutrality to be accepted vs adapting to new perspectives and theories to stand out. 

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"Come and See" focuses on the alleged controversies surrounding the teachings and practices of Wat Phra Dhammakaya. This documentary included interviews from both the supporters and critics of Wat Phra Dhammakaya, which presents a wide range of perspectives towards this temple. The protagonists of this documentary included Thai Buddhist Academics, the regular followers of the temple, and the critic which are the former monk of Wat Phra Dhammakaya.

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It is all too easy to label certain types of impressionistic cinema ‘poetic’. But Vietnamese character study Hair, Paper, Water… genuinely merits the term for the connections it makes between words, images and consciousness.

This concise feature serves as a reminder that documentary can be immersive in a genuine sense, taking the viewer deep into the intimacy of unfamiliar places and cultures – and sometimes of its subjects’ interiority.

The form of this documentary are curated from different structural elements that orchestrate and align everything into one. The interview narratives the everyday life of a local, whilst the imagery works in contrast, by portraying the inner intimacy of a mundane, digging deeper into her emotions and consciousness.

Genre and Focus: It is an impressionistic, poetic, and sensory documentary.

Main Subjects: The film follows the daily life of Cao Thị Hậu, an elderly grandmother, and her young grandson, Doanh.

Setting and Context: They are members of the Rục people, a small ethnic tribe in the remote coastal province of Quảng Bình, Vietnam. The Rục were famously "discovered" by soldiers in 1959, living in caves, and were subsequently resettled into government villages.

Central Theme: A Vanishing Culture: The film is a portrait of a "vanishing way of life." The Rục language is critically endangered (spoken by only a few hundred people), and the film captures the "tragic process" of this cultural and linguistic extinction.

Plot/Activity: The film is loosely structured, resembling a series of "snapshots" or "home videos." Its core "action" is the grandmother's attempt to pass on her heritage to her grandson.

Language: Hậu methodically teaches Doanh words in the Rục language, which are often repeated on screen.

Knowledge: She shares traditional knowledge, such as the use of medicinal plants.

Memory: She recounts personal stories, such as selling her hair several times to earn money, or a dream about her mother telling her to return to the cave.

Daily Life: The film observes their daily routines, like the acacia harvest, visits to the market, and navigating the flood season.

Family Dynamic: The grandson is in Hậu's care because his father left and never returned, and his mother works far away—highlighting the economic pressures that pull the younger generation away from their culture.

Cinematography (Visual Style):

It was shot on a "gorgeous" old 16mm Bolex camera.

This gives the film a grainy, "homemade," and "tangible" feel, with a "moss green" palette that captures the lush, rainy jungle environment.

Sound Design (Aural Style):

The sound is described as the "true magic" of the film.

It is "tactile" and "immersive," focusing on natural sounds like dripping water, rain, wind, leaves, and mud.

It avoids a traditional musical score, instead creating an "acoustic composition" that makes the viewer "hear the images" and feel the connection between the landscape and the language.

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What happens when people know they’re being filmed?

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What happens when people know they’re being filmed?

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This is known in sociology as the observer effect (or in research, the Hawthorne effect):

People alter their behavior because they know they’re being observed.

In documentary terms:

People might perform for the camera — exaggerate, self-censor, or act more “ideal” versions of themselves.

They may imitate media images they’ve seen (acting how they think they should appear on film).

Or, if they distrust the filmmaker, they may withdraw and give short or defensive answers.

Nichols calls this tension part of the ethical core of documentary:

Every film about real people changes the reality it’s trying to capture.

2. So how can an interviewer help someone feel at ease?

Filmmakers (and sociologists doing fieldwork) use similar strategies to build rapport and trust:

Spend time off-camera first. Build a relationship so the camera feels less alien.

Be transparent about your intentions — what you’ll film and how it might be used (informed consent).

Let the camera roll quietly while chatting; people often relax once they forget it’s on.

Match energy and language — mirror body language, tone, or informal speech so it feels like a normal conversation.

Avoid rapid-fire or judgmental questions; instead, ask open-ended, empathetic ones.

When this trust forms, people begin to act naturally again — the filmmaker becomes part of the social world instead of an intruder.

3. The sociology connection

Here’s the key link:
Both documentary filmmakers and sociologists are observers of social behavior.
They face the same problem — how to represent “real life” without distorting it.

Some sociological parallels:

Participant observation (in ethnography): researchers join a community to study it from within — just like participatory or observational documentary modes.

Symbolic interactionism: people perform different “selves” depending on context and audience — Erving Goffman’s The Presentation of Self in Everyday Life fits perfectly here. A camera simply adds another “audience,” prompting a new kind of self-performance.

Ethics of representation: both sociology and documentary ask how to show real people truthfully and respectfully.

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Hair, Paper, Water… (Tóc, Giáy Và Nuóc, 2025) ‘Locarno’ Movie Review: Wondrously Porous Distillation of Language-Memory

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Hair, Paper, Water… (Tóc, Giáy Và Nuóc, 2025) offers a poetic, porous exploration of language, memory, and cultural resonance.

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Locarno 2025 review: Hair, Paper, Water... (Truong Minh Quý & Nicolas Graux)

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“Hair, Paper, Water… will be all that lasts as a memory of a culture.” Caves have a lot of memories. Compared to the millions of years of their existence,

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Verifying you are human. This may take a few seconds.

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Truong Minh Quy And Nicolas Graux On The Story Behind Their Locarno Title ‘Hair, Paper, Water…’ & How Technological Shifts Are Affecting Filmmaking: “The Language Of Cinema Has Changed”

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The film was produced by Thomas Hakim and Julien Graff of Petit Chaos.

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"The use of limited imagery to communicate in a documentary covering the first election for a new generation." 

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"The use of limited imagery to communicate in a documentary covering the first election for a new generation." 

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Limited access, scarce imagery, but more than a hundred capacity of understanding. It is simple as believing in what we see with our bare eyes, this documentary captures as much as we can physically visioned. The footage includes stacks over stacks of the election papers with random marks of votes from young adults age 18 to 24, that has the legal rights to vote for the first time. Ironically, the splatters of marks on the paper and the raw voice memo from the interview is enough to reflect each individuals personality. This also contributes to the protection of the interviewers personal safety.

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The 50mm lens was fundamental to Ozu's visual language. Its relatively natural perspective complemented his themes of family dynamics and generational change. The lens helped create the contemplative, observational quality that defines his work, allowing audiences to witness intimate moments without the manipulative effect of wide or telephoto perspectives. Combined with his minimal camera movement and precise compositions, the 50mm lens contributed to what critics describe as Ozu's "transcendental style"-a cinematic approach that finds profound meaning in everyday existence.

Films like "Tokyo Story" (1953) and "Late Spring" (1949), both shot by cinematographer Yûharu Atsuta, demonstrate how this consistent visual framework allows for extraordinary emotional depth despite (or perhaps because of) its technical restraint. Ozu's commitment to the 50mm perspective represents perhaps the purest example of how a single lens can become integral to a filmmaker's artistic vision.

Luca Guadagnino: The Observational 35mm

When director Luca Guadagnino proposed shooting "Call Me By Your Name" (2017) with a single Cooke S4/i 35mm lens, cinematographer Sayombhu Mukdeeprom embraced the challenge with enthusiasm. "The producer asked me, should there be some other, wider lens? Just in case? I said 'No, no. I want to tie my hand to this approach, because this is how I work. I think if you limit yourself to something, you struggle inside your idea." This creative struggle ultimately produced one of the most visually sumptuous films of recent years.

As production approached, Mukdeeprom's initial excitement gave way to practical concerns. A single-lens approach would require meticulous planning, intimate knowledge of locations, and creative solutions to technical challenges. The weather during the Italian shoot proved unusually uncooperative, testing his commitment to both natural lighting and the fixed focal length.

Yet the 35mm lens proved ideally suited to the film's thematic concerns. As Mukdeeprom explained, "Observation was my goal on this film-to try to observe every moment. The Cooke S4/i 35mm was close enough for the close-ups and wide enough to frame the characters in relation to one another and in perspective with their surroundings." This observational quality perfectly complemented a coming-of-age story centred on discovery, desire, and the awakening of perception.

Interestingly, Guadagnino didn't remain committed to the single-lens approach for his subsequent work. His next film, "Suspiria" (2018), also shot by Mukdeeprom, employed what he called the "entire roster of lenses you can use," including ultra-wide 10-14mm lenses. The single-lens approach should serve the specific needs of each story rather than becoming a dogmatic limitation.

Wes Anderson: The Subversive 27mm

The creative partnership between director Wes Anderson and cinematographer Robert Yeoman ASC offers an intriguing case study in how technical limitations can shape a filmmaker's developing style. Their debut feature, "Bottle Rocket" (1996), represents not just an aesthetic choice but a small act of creative rebellion against studio constraints.

After being denied their preference to shoot with anamorphic lenses, Anderson and Yeoman covertly decided to shoot almost the entire film on a single 27mm Primo lens. As Yeoman recounts, "The very first day we put up a 27mm Primo and we just started shooting with it. And then we moved into the closeups and we're still shooting with it. And Wes is a big fan of Roman Polanski. 'Rosemary's Baby', I think was shot on a 20mm lens. So he said, 'why don't we just shoot the whole movie on a 27?'"

This decision didn't sit well with studio executives, who demanded greater visual variety. The filmmakers' solution was delightfully subversive: they covered the "27" engravings on the lens with tape and falsified camera reports to indicate they were using 50mm and 100mm lenses. "The producer came to me like two days later," Yeoman remembers, "and he said, 'so you're starting to use other lenses now'. And I said, 'yeah, yeah, we're mixing it up-we're using all kinds of lenses!'" Save for a few close-ups shot with a 35mm, the entire film maintained their original vision.

The slightly wider-than-standard 27mm lens helped establish what would become Anderson's signature aesthetic-a slightly heightened reality with carefully composed, often symmetrical frames that accommodate his ensemble casts and meticulously designed environments. The lens choice allowed for both intimate character moments and the inclusion of telling details within the same frame, establishing a visual cohesion that would become increasingly important in Anderson's later work.
Read Cooke's deep dive into Anderson and Yeoman's work

David Cronenberg: The Psychological 21mm

Perhaps the most psychologically potent use of a single lens appears in David Cronenberg's "Cosmopolis" (2012). When approaching this adaptation of Don DeLillo's novella-a claustrophobic odyssey largely set within a billionaire's stretch limousine-cinematographer Peter Suschitzky ASC faced what he called " in many ways, the most difficult picture I would ever do."

Suschitzky selected a 21mm Cooke S4/i lens for the entire production. This ultra-wide perspective creates a subtle spatial distortion that brilliantly mirrors the protagonist's increasingly warped perception of reality. Backgrounds seem to stretch and warp, characters appear slightly unnatural, and the confined space of the limousine feels simultaneously expansive and suffocating.

Cosmopolis (2012), Cinematographer Peter Suschitzky ASC

This visual approach generates an alienation effect that perfectly complements the film's themes of disconnection and late-stage capitalism. As the protagonist's financial empire collapses around him during his cross-town journey, the distorted perspective of the 21mm lens reinforces his psychological disintegration. The lens becomes more than a capture device-it functions as a thematic instrument reinforcing the narrative's unsettling tone.

Suschitzky has spoken about appreciating "the discipline imposed by using only one lens for a film," a discipline certainly compounded by the restricted space of the limousine setting. This self-imposed limitation forced creative solutions to numerous technical challenges, particularly in lighting and staging complex scenes within the vehicle's confined interior.

Beyond its technical implications, the 21mm lens creates what might be called a "cognitive distancing effect." It keeps events and characters at arm's length, rendering them cold, alienated, and somehow displaced from normal reality. This perfectly captures the zeitgeist of the pre-crash cyber-capitalism world depicted in DeLillo's source material-a recognizable yet slightly warped version of our own reality. Cronenberg's approach demonstrates how a single lens can function not just as a stylistic choice but as a psychological instrument that reinforces thematic concerns. The 21mm perspective doesn't merely capture the story-it actively participates in telling it.

Cosmopolis (2012), Cinematographer Peter Suschitzky ASC

The Practical Challenges

Embracing a single prime lens approach demands meticulous preparation. Without the flexibility to adjust focal length on set, filmmakers must thoroughly understand their locations, carefully plan blocking, and educate actors about spatial constraints. Mukdeeprom's initial enthusiasm for shooting "Call Me By Your Name" with one lens was tempered by practical concerns: "For me as DP, it would mean a lot of extra work with planning the shots and knowing the film's locations very well."

Weather, lighting conditions, and spatial limitations all become more significant challenges when working with a fixed focal length. During the production, unusually inclement weather tested Mukdeeprom's commitment to natural lighting combined with his single-lens approach. Yet these challenges ultimately contributed to the film's distinctive visual character.

When to Embrace the Single Lens

The single-lens technique proves most effective when the narrative demands a consistent, almost subjective visual perspective throughout. Films exploring psychological interiority benefit from the unwavering point of view. However, this approach isn't universally applicable. Complex narrative structures, action sequences, or stories requiring varied visual landscapes might benefit from more flexible approaches. The key lies in understanding a story's specific visual and emotional requirements.

A Unified Aesthetic

Most viewers couldn't easily identify that a film was shot using only one lens, yet they invariably feel its effect. A single lens creates what Guadagnino calls a "straightforward" quality that avoids placing "technology in-between the camera and performance." This coherence acts as connective tissue, binding diverse locations, tones, and narrative movements into a unified whole.

As Anderson and Yeoman discovered on "Bottle Rocket," the single lens approach creates a distinctive visual signature that can define a filmmaker's early career. Their subsequent films "Rushmore" and "The Royal Tenenbaums" continued this tradition, with approximately 90% of shots captured using a single 40mm anamorphic lens. This consistency helped establish the recognizable "Anderson aesthetic" long before his more elaborate stylistic flourishes emerged.

The Invitation to See Differently

In an age of technological abundance, choosing a single prime lens represents a radical act of artistic commitment. It declares that cinematic vision isn't about technical complexity but about profound, focused observation. The lens becomes more than a tool-it serves as a window into perception itself, capable of transforming how we understand character, emotion, and narrative.

The examples of Ozu with Atsuta, Guadagnino with Mukdeeprom, Anderson with Yeoman, and Cronenberg with Suschitzky demonstrate that limitation often breeds innovation. By restricting one aspect of the visual palette, filmmakers free themselves to explore other dimensions of their craft with greater intensity and purpose. They establish the "rules of the game" for viewers, creating a single perspective through which an entire narrative world can be experienced and understood.

For aspiring filmmakers, the lesson is clear: sometimes the most powerful creative choice is the decision to limit your options. A lens is ultimately a means of expression, not an end in itself. By committing to a single way of seeing, you might discover a visual voice of remarkable clarity and power-one that speaks through simplicity rather than complexity, through consistency rather than variation. In this focused vision lies the potential for truly transformative cinema.

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The 50mm lens was fundamental to Ozu's visual language. Its relatively natural perspective complemented his themes of family dynamics and generational change. The lens helped create the contemplative, observational quality that defines his work, allowing audiences to witness intimate moments without the manipulative effect of wide or telephoto perspectives.

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Director’s Note (Key Points):

1. Social Stigma Too often, women in nightlife jobs get judged for what they do, and people forget to see them as real people. This documentary pushes back against that narrow viewpoint and asks us to look past moral labels.

2. Limited Choices It’s important to remember that working in nightlife isn’t always a free choice. Many factors—social and economic—shape what options people really have. Instead of asking "why this job?", we ask, "what choices did they actually have?"

3. Everyday Humanity At the end of the day, these women have lives like anyone else, with hopes, dreams, and challenges. There’s nothing sensational here—just honest, everyday experiences. That’s what we wanted to show in the film.

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I chose this topic because women in nightlife work are so often misunderstood and judged by society. All people usually see is their job—they rarely hear about these women’s real lives and personal stories. With this documentary, I wanted to put the focus back on them as people, not just workers.

The film also looks at the idea of choice, but from a different angle. Instead of assuming everyone had the same options, we ask what choices were actually possible for these women, given their circumstances. By sharing their everyday lives and letting them speak for themselves, I hope the film challenges the usual assumptions people have about nightlife work.

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day 1

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For the first shot, we will use a static medium shot filmed from inside the innermost cabinet of the room, looking outward to see P'Pla and the makeup artist. The camera placement should create a voyeuristic feeling, as if we are secretly watching them. This allows the audience to feel the reality of her everyday life and captures the overall mood of the room.

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For the second shot, we cut to a Medium Close-Up (MCU) of P'Pla's face reflected in the vanity mirror as she gets her makeup done. This shot is designed to capture her facial expressions and the casual, friendly relationship between her and the makeup artist. It will also serve to record their natural, everyday conversations.

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For the third shot, we will use a Medium Close-Up (MCU) focused on the makeup artist. This shot will be used to capture their interview about how they feel working in this profession. It is also designed to show the deep bond between the makeup artist and P'Pla, highlighting that they care for each other like sisters in the workplace.

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For this first shot, we used a tight close-up, filling the frame entirely with P'Pla's face as she speaks on the phone in Japanese. Because this is a Japanese-clientele bar, she has learned the language fluently. She is talking to a regular client she is close with, and the conversation reveals a very sweet, supportive relationship between them, even outside of working hours. But as I watched her expressions and listened to her ask for help, it made me question the reality of the situation. Are those words and that look on her face her true, authentic self? Does she actually want to rely on these men for help? Ultimately, it makes you wonder: can the relationship between them truly be called "love"?

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The film cuts to a Medium Shot of P'Pla seated alone in the room. Crucially, the camera replicates the exact framing used during the earlier makeup sequence. This technique acts as a "visual echo." By presenting the same space but stripping away the bright fluorescent lights, the makeup artist, and the noise, the frame is left engulfed in shadows. This deliberately convinces the audience to compare the two moments, visually emphasizing the profound isolation of her after-hours reality compared to the manufactured energy of her working hours.

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Filmed at the exact same time using Camera B, this next shot punches in for a tighter, more intimate angle. We shoot from behind P'Pla, capturing her reflection in the mirror. To add visual aesthetic to the scene, there is a curtain gently blowing in the foreground, partially obstructing our view of her. The purpose of this specific setup, including the blowing curtain, the tight reflection, the isolation; is to draw out her deepest feelings and internal thoughts as much as visually possible, allowing the audience to feel the heavy weight of her mind in that quiet room.

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In some of the shots we captured around the house, P'Pla’s mother and daughter naturally step into the frame. Watching them interact, you see a completely normal, incredibly warm, and loving family. It becomes immediately clear that P'Pla is the foundational pillar of this home—the sole breadwinner keeping everything afloat. Seeing her care for them adds so much weight to her story. It strips away any societal judgment about her nightlife profession and leaves you with the undeniable truth: she is a fiercely devoted mother and a dutiful daughter. Every hardship she endures at work is simply a sacrifice she makes to carry the weight of her family’s survival on her shoulders.

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The front yard of P'Pla's house is completely overgrown. It is filled with a chaotic tangle of wild plants and tall, unruly grass. To an ordinary person walking by, you couldn't even call it a "garden"—it's simply too messy and untamed. But sitting there and actually looking at it, you realize it is beautiful in its own distinct way. It doesn't need to be perfectly pruned or manicured to have value. In a way, it perfectly mirrors her life: surviving against the odds, unpolished, and beautiful not because it is perfect, but because it is real and resilient.