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Passing
by Rebecca Hall
USA, 2021
B&W 4:3. Shot on Alexa Mini with Round Front Lomo Anamorphic lenses
Producers.- Margot Hand, Nina Bongiovi, Forest Whitaker and Rebecca Hall
Production Co.- Significant Productions, Picture Film and Flat Five for Chanel 4 and Netflix
Writer.- Rebecca Hall; Nella Larssen (novel)
Production Designer.- Nora Mendis
Costume Designer.- Marci Rodgers
Music.- Devonté Hynes
Operators.- Aaron Brown and Edu Grau
AC.- Bailey Sweitzer`
DIT.- Zack Sainz
Gaffer.- Stefan Lan
Key Grip.- Rob Stiles
With Tessa Thompson, Ruth Negga, André Holland, Bill Camp and Alexander Skarsgård
Producers.- Margot Hand, Nina Bongiovi, Forest Whitaker and Rebecca Hall
Production Co.- Significant Productions, Picture Film and Flat Five for Chanel 4 and Netflix
Writer.- Rebecca Hall; Nella Larssen (novel)
Production Designer.- Nora Mendis
Costume Designer.- Marci Rodgers
Music.- Devonté Hynes
Operators.- Aaron Brown and Edu Grau
AC.- Bailey Sweitzer`
DIT.- Zack Sainz
Gaffer.- Stefan Lan
Key Grip.- Rob Stiles
With Tessa Thompson, Ruth Negga, André Holland, Bill Camp and Alexander Skarsgård
BEST CINEMATOGRAPHY WINNER, INDEPENDENT SPIRIT AWARDS 2022
Nominated for 4 BAFTA Film Award 2022. Sundance Film Festival Official Competition 2021
Nominated DGA Award Outstanding Directorial Achievement in First-Time Feature Film 2022
Other 30 awards and 111 nominations
One of the extraordinary joys of being a cinematographer is when you receive a film where the form and content are so intrinsically connected that every decision finds its way to make sense. This is Passing for me, a project I have close to my heart because of what we achieved with all the people involved. Rebecca is an amazing and talented multilayered woman, and I knew (after doing The Awakening and The Gift with her as an actress) that she could be a great director. The actors are just superb at their job and beautiful souls to work with. And the main producers, Margot Hand and Nina Bongiovi, where always supportive with the movie we were making.
Visually, it is a feast for a dp to be offered a 4:3 B&W movie. And after a lot of testing we found the lenses that would define the movie, the Round front LOMO Anamorphic. . The texture, the bokeh, the contrast and those highlights were just magic, and we felt in love. We had never seen that look before. Those choices made sense cause ¨this movie is like the caress of a woman¨, a producer once said. Most of the visual choices on this movie were so relevant for the actual storytelling that it it a filmmaker dream.
Please watch and let me know what you think!
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