Jurors at the EnergaCamerimage cinematography fest say the Golden Frog main competition films have been remarkably varied and inspiring in the event’s 32nd edition.
The 12 competing films “were radically different from each other,” said “Barbie” and “Killers of the Flower Moon” cinematographer Rodrigo Prieto, whose directorial debut, “Pedro Paramo,” is also screening at the fest. “I enjoyed that.”
The varied styles, approaches and storytellers, he added, defied easy categorization. “Happily, I didn’t notice trends, which I have noticed sometimes in the past in some festivals.”
Juror Anthony Dod Mantle, who won Golden Frogs in 2008 for his lensing of “Slumdog Millionaire” and in 2016 for “Snowden,” said, “I’ve been to this festival before and the overall collection of films and categories, I felt, was even wider. I feel slight absence of certain films from other ethnic backgrounds. They were different, these films, but they could be far more different.”
Greater diversity and inclusion in cinematography has justly been a hot topic this year at Camerimage, he added. “It’s good we embrace that, celebrate it here, because not many festivals do that.”
Dod Mantle described the current state of cinematography, based on what the jury’s seen this week, as “openly variable and that’s why we praise some films rather than others because they challenge convention.”
He also described the industry as “in a bit of a pickle,” adding, “We know that. We have to applaud ourselves and embrace and encourage every single essence of, molecule of, exploration and challenging cinema.”
Juror Lukasz Zal, who filmed “The Zone of Interest” and “Cold War,” said “I feel really inspired. I feel this kind of positive envy when you just see something which you admire, and love – cinema is still in good condition.”
And, he added, “I’m becoming hopeful that, OK, there’s still a lot to discover. For this, I really love Camerimage. When I was here, when I was a student, I was always coming back home after festival, with this feeling, kind of eager to work, to prepare and to just be really open and be full of ideas.”
Spending time here again as a top professional in his field, Zal said, “I feel again like a student.”
Juror Cate Blanchett said it’s clear cinematography has no crisis of creativity currently.
Instead, there’s a different issue: “The pickle is how one gets access and is able to see these films in the way that they’re intended to be seen.”
Technology advances in the field are also helping storytelling onscreen evolve, she added, rather than distracting from it. “Sometimes you can see there’s been huge technical advances made, or there’s been big innovations, and they haven’t yet been integrated into the stories that they’re being applied to. Whereas I thought there were so many films here that have really integrated the technology and in a completely adventurous and inventive way that was not pretentious. It was very interwoven and enmeshed with the performances and the stories.”
Jury duty at Camerimage is rewarding, said Dod Mantle, because the Golden Frog award can often help promising cinematographers break through to booming careers.
He described the potential effect of the award as “enormous.”
“The first time I came here, in competition,” he recalled, “it illustrated for me the jury was embracing cinema, celebrating something different and challenging.”
Cinematographers are keenly aware of the judgment of their peers, Dod Mantle added. “You feel quite vulnerable here. I’ve seen cinematographers leave the festival and go spend the weekend in Krakow and come back. The frog, ultimately is a beautiful thing celebrating our colleagues’ work.”
Juror Anna Higgs, a producer and columnist who works closely with BAFTA, said, “I think we should normalize cinematographers getting asked for their autographs – the fact that this frog is the idolized thing here.”
Blanchett added, “It’s very rare that you go to a festival where every single person in the auditorium sits right through the credit roll to the very end.” She noted “the respect that is shown to every single crewmember.”
Prieto recalled the impact of his own Golden Frog cinematography win in 2000 for “Amores Perros” fondly. “I do cherish that frog. It’s wonderful to get a frog, but more than anything, it’s a place where cinematography is the focus and is celebrated, and to share that obsession with so many people, and the energy of that, is really wonderful.”
Zal had a similar career boost, he said, after winning for lensing “Ida” by Pawel Pawlikowski in 2013. “That’s really the moment when somehow my career changed. I was always dreaming while having student films here. And it was beautiful to get an award from colleagues and being here and being among amazing cinematographers.
“I was put in competition with the people who I admire. Even now, sitting with Rodrigo, who for me was a huge inspiration. I was shooting my films in school inspired by ‘Amores Perros.’ Now we’re sitting together on the jury. That’s amazing, that’s beautiful.”
Blanchett described the close proximity of students and top international lensers as a unique strength of Camerimage, praising “the mentorship that goes on, how you’ll champion the works of other people.”
“I think that’s why it’s so vitally important that there’s an increased level of female participation. Because of the networking and mentorship opportunities and championing the work. The conversations and the opportunities that arise from those conversations are really important.”
Oscar-winning costume designer Sandy Powell (“Shakespeare in Love,” “The Aviator” and “The Young Victoria”) and cinematographer and documentary filmmaker Jolanta Dylewska also served on the Camerimage jury, calling earlier this week for greater diversity and inclusion in the industry.
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