The Alexa 35 is booming! As IndieWire released its camera survey, it seems that the new Super 35 flagship from Arri is among the most popular cameras chosen by Sundance 2024’s filmmakers. The Arri 35 causes the notable Super 35 format to go back to the game. Furthermore, the Arri Alexa Mini is the most popular camera five years in a row. Watch the segmentation.
Sundance 2024’s Narratives: Camera Manufacturers’ chart
As you can see in the chart, Super 35 is the dominant format. As we thought that large sensors would pull down the notable Super 35, it’s not as simple as that, since the Arri 35 kicks the Super 35 to the popularity line again. Additionally, this is the first time that we have seen a solid presence of the Arri 35 in our charts. Head to head with the old (and mighty) Alexa Mini, the Arri 35 is climbing strong and may become the most preferred camera among storytellers.
Sundance 2024’s Narratives: Camera Manufacturers’ chart
As you can see in the chart, Super 35 is the dominant format. As we thought that large sensors would pull down the notable Super 35, it’s not as simple as that, since the Arri 35 kicks the Super 35 to the popularity line again. Additionally, this is the first time that we have seen a solid presence of the Arri 35 in our charts. Head to head with the old (and mighty) Alexa Mini, the Arri 35 is climbing strong and may become the most preferred camera among storytellers.
- 1/29/2024
- by Yossy Mendelovich
- YMCinema
In his feature directorial debut, The Boy Who Harnessed the Wind, Chiwetel Ejiofor crafted a humanizing portrait of a gifted Malawian boy who saves his village from famine by building a DIY windmill. That film — based on the true story of inventor William Kamkwamna — leaned into the conventions of inspirational movies to shape a narrative steeped in good-natured earnestness. But it also teased a portrayal of the complicated relationships between fathers and sons.
Ejiofor revisits this theme more forcefully in his latest directorial effort, Rob Peace, about a young man torn between the promise of his future and the responsibilities of his past. Adapted from Jeff Hobbs’ 2014 book The Short and Tragic Life of Robert Peace, the film offers a sweeping and empathetic depiction of its central character. Through Peace’s story, Ejiofor explores the violent impact of the carceral state and the fraught interdependence of a father and his son.
Ejiofor revisits this theme more forcefully in his latest directorial effort, Rob Peace, about a young man torn between the promise of his future and the responsibilities of his past. Adapted from Jeff Hobbs’ 2014 book The Short and Tragic Life of Robert Peace, the film offers a sweeping and empathetic depiction of its central character. Through Peace’s story, Ejiofor explores the violent impact of the carceral state and the fraught interdependence of a father and his son.
- 1/23/2024
- by Lovia Gyarkye
- The Hollywood Reporter - Movie News
“Rob Peace,” Chiwetel Ejiofor’s second feature film as a director and an adaptation of Jeff Hobbs’ bestselling biography “The Short and Tragic Life of Robert Peace,” starts with a powerful enough image: a literal house on fire. It’s the house that once belonged to the Peace family, now charred on the inside and sitting vacantly in an East Orange, New Jersey neighborhood. The image is one Ejiofor returns to in this film about the lifelong institutional failures that led to the murder of promising Black Yale graduate Robert Peace in 2011 at the age of 30, and during an American financial crisis. Earnestly told and intelligently acted by “Tulsa King” breakout Jay Will in his first major film role, “Rob Peace” still suffers from the usual biographical drama cliches, confused cutting, and an often too blunt script that flattens the majority of the film’s surrounding ensemble into background noise.
- 1/22/2024
- by Ryan Lattanzio
- Indiewire
HBO’s “The Last of Us” dances between terrifying post-apocalyptic scenes with zombie-like creatures known as clickers and intimate moments between Pedro Pascal’s Joel and Bella Ramsey’s Ellie.
Cinematographers Eben Bolter and Ksenia Sereda, who captured some of the series’ most captivating and visual spectacles, will be vying for Emmy consideration in the Outstanding Cinematography For A Single-Camera Series (One Hour) category.
HBO has confirmed that Bolter, who shot Episodes 3, 4 and 5 will submit the third episode, “Long, Long Time.”
Read: Variety’s Awards Circuit for the latest Emmy predictions.
Nick Offerman and Murray Bartlett in “The Last of Us”
The flashback episode is named after the Linda Ronstadt song, which features prominently. Hailed as one of the most extraordinary episodes of television, much of the story focuses on the nearly 20-year relationship between Joel’s smuggling compatriots, Bill (Nick Offerman) and Frank (Murray Bartlett).
The episode was written...
Cinematographers Eben Bolter and Ksenia Sereda, who captured some of the series’ most captivating and visual spectacles, will be vying for Emmy consideration in the Outstanding Cinematography For A Single-Camera Series (One Hour) category.
HBO has confirmed that Bolter, who shot Episodes 3, 4 and 5 will submit the third episode, “Long, Long Time.”
Read: Variety’s Awards Circuit for the latest Emmy predictions.
Nick Offerman and Murray Bartlett in “The Last of Us”
The flashback episode is named after the Linda Ronstadt song, which features prominently. Hailed as one of the most extraordinary episodes of television, much of the story focuses on the nearly 20-year relationship between Joel’s smuggling compatriots, Bill (Nick Offerman) and Frank (Murray Bartlett).
The episode was written...
- 4/21/2023
- by Jazz Tangcay
- Variety Film + TV
The wonderful, dystopian TV HBO Max series, The Last of Us, was shot by the young Russian cinematographer Ksenia Sereda. Sereda chose the beautiful combination of Arri Alexa Mini and Cooke S4/i, to help her translate the cinematic look of the acclaimed video game, into a successful TV series. Read the interview below.
Dp Ksenia Sereda on the set of The Last Of Us. Source: HBO Painting a dystopian world
It’s not a coincidence that the dystopian look & feel of the HBO Max series, The Last of Us reminds us of other TV series. In fact, cinematography-wise, it looks like the TV series Chernobyl. Indeed, one of the creators of The Last of Us is Craig Mazin, which has also created the mini-series Chernobyl. Furthermore, Ksenia Sereda, which is the main (and youngest) cinematographer of The Last of Us, was the cinematographer of Chornobyl’s Russian counterstrike, which is Chernobyl: Abyss.
Dp Ksenia Sereda on the set of The Last Of Us. Source: HBO Painting a dystopian world
It’s not a coincidence that the dystopian look & feel of the HBO Max series, The Last of Us reminds us of other TV series. In fact, cinematography-wise, it looks like the TV series Chernobyl. Indeed, one of the creators of The Last of Us is Craig Mazin, which has also created the mini-series Chernobyl. Furthermore, Ksenia Sereda, which is the main (and youngest) cinematographer of The Last of Us, was the cinematographer of Chornobyl’s Russian counterstrike, which is Chernobyl: Abyss.
- 3/21/2023
- by Yossy Mendelovich
- YMCinema
There’s a tension in “The Last of Us” that has nothing to do with pushing back ravenous infected hordes or with Ellie (Bella Ramsey) and Joel (Pedro Pascal) pulling each other through near-death situations. The HBO series goes out of its way to emphasize the ever-present terror of living in a zombified world and the beauty of its broken landscapes, revealing how both things are always true.
The show’s environment changes dramatically as Ellie and Joel cross the country, keeping the series from falling into the trap of a grim color palette or an endless expanse of jagged concrete. But the show’s cameras also play an integral part in building compositions that show us what the characters fear, what they desperately hope for, and what they’ve lost all at once.
Cinematographer Ksenia Sereda, who set the groundwork for the series as the Dp for Episodes 1 and...
The show’s environment changes dramatically as Ellie and Joel cross the country, keeping the series from falling into the trap of a grim color palette or an endless expanse of jagged concrete. But the show’s cameras also play an integral part in building compositions that show us what the characters fear, what they desperately hope for, and what they’ve lost all at once.
Cinematographer Ksenia Sereda, who set the groundwork for the series as the Dp for Episodes 1 and...
- 3/11/2023
- by Sarah Shachat
- Indiewire
Warning: This article contains spoilers for Episode 7 of “The Last of Us”
Sunday’s episode of “The Last of Us” marked a departure from the main storyline of Naughty Dog’s 2013 action-adventure video game, as the latest chapter of HBO’s post-apocalyptic drama series focused on its “Left Behind” Dlc released back in 2014.
“Left Behind” follows Ellie prior to meeting Joel, offering a glimpse of her time in Fedra school and her relationship with and eventual loss of her best friend Riley.
“When we meet [Ellie], we know she’s a very complicated character in a way that you know there is something deep inside that she’s carrying with her but you never have the opportunity to know what that is,” the episode’s cinematographer Ksenia Sereda told TheWrap. “Watching the show, you’re so connected to Ellie and I think that’s a very impactful moment to go back...
Sunday’s episode of “The Last of Us” marked a departure from the main storyline of Naughty Dog’s 2013 action-adventure video game, as the latest chapter of HBO’s post-apocalyptic drama series focused on its “Left Behind” Dlc released back in 2014.
“Left Behind” follows Ellie prior to meeting Joel, offering a glimpse of her time in Fedra school and her relationship with and eventual loss of her best friend Riley.
“When we meet [Ellie], we know she’s a very complicated character in a way that you know there is something deep inside that she’s carrying with her but you never have the opportunity to know what that is,” the episode’s cinematographer Ksenia Sereda told TheWrap. “Watching the show, you’re so connected to Ellie and I think that’s a very impactful moment to go back...
- 2/27/2023
- by Lucas Manfredi
- The Wrap
“Bodies are heavier after death, my pop told me.” So says a child at the beginning of Mama I’m Home, setting the scene for Vladimir Bitokov’s compelling second feature which premiered in the Horizons section of the Venice Film Festival.
This is Kabardino-Balkaria, a world where some children grow up to have a choice between unemployment, and fighting for a Russian private military contractor. Tonya (Kseniya Rappoport) has persuaded her son to take the latter option, but bitterly regrets it when she is told that he has been killed in action. Refusing to believe it, she storms into everywhere from army offices to police stations, demanding the truth. When the authorities realize that she won’t give up, a young man arrives at her home, claiming to be her long lost son, alive and well. But he’s a stranger to Tonya, and the conspiracy unfolds as she continues to battle for answers.
This is Kabardino-Balkaria, a world where some children grow up to have a choice between unemployment, and fighting for a Russian private military contractor. Tonya (Kseniya Rappoport) has persuaded her son to take the latter option, but bitterly regrets it when she is told that he has been killed in action. Refusing to believe it, she storms into everywhere from army offices to police stations, demanding the truth. When the authorities realize that she won’t give up, a young man arrives at her home, claiming to be her long lost son, alive and well. But he’s a stranger to Tonya, and the conspiracy unfolds as she continues to battle for answers.
- 9/11/2021
- by Anna Smith
- Deadline Film + TV
Moscow-based Ilya Stewart is one of the international film industry’s rising stars. After founding production co Hype in 2011 with Murad Osmann, the pair have rapidly grown the outfit into one of the hottest names in Russia across commercials, music videos, and feature films. Unsurprisingly, TV is also now in the company’s sights.
Hype has amassed an impressive number of credits over its first decade of operation, but Stewart is largely recognized for his work with Kirill Serebrennikov. Their first film together, 2016’s The Student, won the Un Certain Regard Award at Cannes, and they returned two years later with Leto, which was selected to screen in Competition.
Their latest collaboration is Petrov’s Flu, the surreal and engaging story tracking a day in the life of a comic book artist suffering from the flu, which causes him to drift between fantasy and reality. The film, which is adapted...
Hype has amassed an impressive number of credits over its first decade of operation, but Stewart is largely recognized for his work with Kirill Serebrennikov. Their first film together, 2016’s The Student, won the Un Certain Regard Award at Cannes, and they returned two years later with Leto, which was selected to screen in Competition.
Their latest collaboration is Petrov’s Flu, the surreal and engaging story tracking a day in the life of a comic book artist suffering from the flu, which causes him to drift between fantasy and reality. The film, which is adapted...
- 7/8/2021
- by Tom Grater
- Deadline Film + TV
Winning the Best Director Prize out of Un Certain Regard at the 2019 Cannes Film Festival (where it also took home the Fipresci Prize), Kantemir Balagov’s post-war sophomore odyssey Beanpole solidifies him as one of contemporary Russia’s most notable new directors.
A successful festival run saw Balagov edge close to snagging an Oscar nod with the international film shortlist and Kino Lorber released the film domestically in January of 2020, where the title took in nearly two-hundred thousand dollars across thirty-five venues (his lauded 2017 debut Closeness never received a theatrical release stateside).
From our review at the 2019 Cannes Film Festival:
“Beautifully textured cinematography from Kseniya Sereda captures a tremendously vibrant color palette of these period interiors, flanked by the less colorful but grainy exteriors of a bedraggled but bustling Leningrad (where a near-Anna Karenina moment occurs).…...
A successful festival run saw Balagov edge close to snagging an Oscar nod with the international film shortlist and Kino Lorber released the film domestically in January of 2020, where the title took in nearly two-hundred thousand dollars across thirty-five venues (his lauded 2017 debut Closeness never received a theatrical release stateside).
From our review at the 2019 Cannes Film Festival:
“Beautifully textured cinematography from Kseniya Sereda captures a tremendously vibrant color palette of these period interiors, flanked by the less colorful but grainy exteriors of a bedraggled but bustling Leningrad (where a near-Anna Karenina moment occurs).…...
- 7/14/2020
- by Nicholas Bell
- IONCINEMA.com
Her name is Iya (Viktoria Miroshnichenko), but most folks call her “Beanpole.” It’s not hard to see why — tall, willowy, and blessed with hair the color of fine straw, this lanky Russian does indeed resemble a long, sprouting plant. But it’s a term people use affectionately when they talk of her, and in Leningrad circa “the first autumn after the war,” affection is scarce. Working as a nurse, Iya tends to soldiers who’ve survived sieges and shellings, who’ve lost limbs and sometimes the will to live.
- 2/4/2020
- by David Fear
- Rollingstone.com
28-year-old Kantemir Balagov’s second film “Beanpole” has sickness in its marrow. Russia’s shortlisted entry for the 2019 Best International Feature Film Academy Award centers on a sometimes-toxic symbiosis shared by two women in post-wwii Leningrad, damaged by their experiences on the battle lines and eking out what remains of an existence working in a veterans hospital — a rust-colored hovel in the ruins of the city.
This slow-motion twist of the gut features impressive first-time performances from two actors Balagov plucked from obscurity in a country-wide casting call. Viktoria Miroshnichenko plays the long-limbed, ghostlike, sickly Iya, aka Beanpole, who’s rattled by a Ptsd condition that causes sudden spells of shortness of breath. Vasilisa Perelygina plays Masha, prone to her own flights of mania, and the two women are locked in a folie a deux that careens from tenderness to freaky, vampiric obsession.
In taking a look at the breakdown...
This slow-motion twist of the gut features impressive first-time performances from two actors Balagov plucked from obscurity in a country-wide casting call. Viktoria Miroshnichenko plays the long-limbed, ghostlike, sickly Iya, aka Beanpole, who’s rattled by a Ptsd condition that causes sudden spells of shortness of breath. Vasilisa Perelygina plays Masha, prone to her own flights of mania, and the two women are locked in a folie a deux that careens from tenderness to freaky, vampiric obsession.
In taking a look at the breakdown...
- 1/7/2020
- by Ryan Lattanzio
- Indiewire
28-year-old Kantemir Balagov’s second film “Beanpole” has sickness in its marrow. Russia’s entry for the 2019 Best International Feature Film Academy Award centers on the sometimes toxic symbiosis shared by two women in post-wwii Leningrad, damaged by their experiences on the battle-lines and eking out what remains of an existence working in a veterans hospital — a rust-colored hovel amid the ruins of the city. IndieWire has the exclusive first trailer below, courtesy of distributor Kino Lorber.
This slow-motion twist of the gut features impressive first-time performances from two actors Balagov plucked out of obscurity in Russia from a country-wide casting call. Viktoria Miroshnichenko plays the long-limbed, ghostlike, sickly Iya, a.k.a. Beanpole, who’s rattled by a Ptsd condition that causes sudden spells of shortness of breath, played with an undercurrent of creepiness by Evgueni Galperine’s shivery string score. Vasilisa Perelygina plays Masha, prone to her own flights of mania,...
This slow-motion twist of the gut features impressive first-time performances from two actors Balagov plucked out of obscurity in Russia from a country-wide casting call. Viktoria Miroshnichenko plays the long-limbed, ghostlike, sickly Iya, a.k.a. Beanpole, who’s rattled by a Ptsd condition that causes sudden spells of shortness of breath, played with an undercurrent of creepiness by Evgueni Galperine’s shivery string score. Vasilisa Perelygina plays Masha, prone to her own flights of mania,...
- 12/5/2019
- by Ryan Lattanzio
- Indiewire
Kantemir Balagov is repping Russia for the International Feature Film Oscar for the first time, with his second film, Beanpole. The story of the plight of two women in a devastated post-wwii Leningrad brought Balagov a Best Director win in Cannes’ Un Certain Regard section this year. He visited with Deadline at the festival back in May, and we recently caught up to discuss his journey since, the reasons why he has tended to focus on female stories and what the future holds.
Balagov’s inspiration for Beanpole came from Svetlana Alexievich’s book The Unwomanly Face Of War, and centers on Iya and Masha as they search for meaning and hope in the struggle to rebuild their lives amongst the ruins.
The film has a notable palette. Balagov credits his Dp, Kseniya Sereda, with finding the look of Beanpole. The pair discussed extensively how Balagov envisioned it, and “after a couple days of shooting,...
Balagov’s inspiration for Beanpole came from Svetlana Alexievich’s book The Unwomanly Face Of War, and centers on Iya and Masha as they search for meaning and hope in the struggle to rebuild their lives amongst the ruins.
The film has a notable palette. Balagov credits his Dp, Kseniya Sereda, with finding the look of Beanpole. The pair discussed extensively how Balagov envisioned it, and “after a couple days of shooting,...
- 11/26/2019
- by Nancy Tartaglione
- Deadline Film + TV
The horrors of war are often told through male-centric narratives. Heroes who go through hell on the battlefield, brothers who sacrifice everything for each other, soldiers who return home scarred for life etc., all of which we’ve seen put on the big screen time and again. But wars are of course collective nightmares, tears in the fabric of history that leave no one–men, women, children–unscathed.
This is the premise of Russian writer–director Kantemir Balagov’s second feature Beanpole, a radical relationship drama that examines the trauma of war from a distinctly female perspective. It doesn’t feature any battle scene, but shakes you to your core with its depiction of the cold, shell-shocked vacuum that the human mind turns into in the wake of unspeakable atrocities.
Set in post-wwii Leningrad, the film opens with a persistent ringing noise, as if a bomb went off somewhere nearby.
This is the premise of Russian writer–director Kantemir Balagov’s second feature Beanpole, a radical relationship drama that examines the trauma of war from a distinctly female perspective. It doesn’t feature any battle scene, but shakes you to your core with its depiction of the cold, shell-shocked vacuum that the human mind turns into in the wake of unspeakable atrocities.
Set in post-wwii Leningrad, the film opens with a persistent ringing noise, as if a bomb went off somewhere nearby.
- 10/13/2019
- by Zhuo-Ning Su
- The Film Stage
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