Cannes Film Festival

"As a DP, it [film] brings me less control, which I value; it makes the film look different from all the rest. For La Bola Negra the natural choice was 35mm 3-perf. with the aim of making a film as good as the big classic films we all loved."

"Reed and I chose film, specifically Super16mm, because we didn't think this story would feel genuine if it was slick or too beautiful. From our first conversations about Atonement, we were firm in our belief that if the image didn't feel real then we would be doing a disservice to what happened to the real people."

"Particularly when it comes to narratives, I often feel a closeness between myself and what I'm viewing when the image is shot on film. It’s closer to experiencing a vivid memory; I feel intrinsically connected."

"We used film to establish the look and tone, and to create a sense of portraiture in the film. It’s an ensemble but also personally reflective for each character and film largely captured the individual moments in each journey. It is a very contemporary political story but the politics and experiences are universal: film gave us a way to straddle something that felt simultaneously timely and timeless."

"I can say that 16mm not only contributed a visual texture in dialogue with memory, but also led us to build a working practice in which each take required concentration, precision, and emotion—a way of filming that, without renouncing play, was deeply rooted in the experience of the present"

"In the audiovisual field, I needed to break away from my previous work. As Bestas had a classic language. I wanted El ser querido to be the total and radical antonym of that. I decided to shoot in every possible format. I decided that within the story there would be thousands of stories. We shot in black and white, in color, in photochemical (65 mm, 35 mm, 16 mm, 8 mm), we filmed digitally, in Mini DV format. We alternated between different lenses throughout the (story) shoot."

"This is my fourth feature film with Laszlo and our seventh project together. All of these were shot and printed on Kodak film. Film is our medium for every project we do for artistic, workflow and archival reasons. We LOVE the way film looks and feels especially when it is also projected on film. We will rely on the beauty of film for our upcoming projects as well."

"We didn't want a clean film. We wanted something rough, unpolished, textured. Winter here isn't sterile or blue. It's rust. It's sunlight trapped in cold brick. We shot everything outside, in raw natural light, and only one format could hold that harshness without flinching"

"“Light” is one of the film’s central motifs. From the very beginning of the project, I was determined to shoot on film, and we were fortunate enough to do so on 16mm. I believe every member of the crew felt the same way: a story about light had to be captured on film. The light scattered across the city at night, the blinding light of midday, the quiet glow of a single candle — how can cinema express two lovers drawing closer through their conversations about light? Exploring that question was a deeply joyful process."

"With film we could go straight into feeling. We were able to have an emotional and vulnerable approach, without letting the technical aspects take over. We wanted to create a timeless and painterly world, yet we wanted it to feel modern. To achieve that we used the right film stock, at the right time, at the right location. So we ended up shooting all the different Kodak stocks. A tender and vibrant visual language, about a new beginning and finding out who you are. And I think we really captured that."

"When asked why I shoot on 35mm despite digital’s resolution, my answer is subjective and anachronistic: photochemistry is magical—the way light imprints onto silver halides, its analog texture, grain, highlights, and color—something sensorial, mysterious, and timeless."

"As a DP, it [film] brings me less control, which I value; it makes the film look different from all the rest. For La Bola Negra the natural choice was 35mm 3-perf. with the aim of making a film as good as the big classic films we all loved."

"Reed and I chose film, specifically Super16mm, because we didn't think this story would feel genuine if it was slick or too beautiful. From our first conversations about Atonement, we were firm in our belief that if the image didn't feel real then we would be doing a disservice to what happened to the real people."

"Particularly when it comes to narratives, I often feel a closeness between myself and what I'm viewing when the image is shot on film. It’s closer to experiencing a vivid memory; I feel intrinsically connected."

"We used film to establish the look and tone, and to create a sense of portraiture in the film. It’s an ensemble but also personally reflective for each character and film largely captured the individual moments in each journey. It is a very contemporary political story but the politics and experiences are universal: film gave us a way to straddle something that felt simultaneously timely and timeless."

"I can say that 16mm not only contributed a visual texture in dialogue with memory, but also led us to build a working practice in which each take required concentration, precision, and emotion—a way of filming that, without renouncing play, was deeply rooted in the experience of the present"

"In the audiovisual field, I needed to break away from my previous work. As Bestas had a classic language. I wanted El ser querido to be the total and radical antonym of that. I decided to shoot in every possible format. I decided that within the story there would be thousands of stories. We shot in black and white, in color, in photochemical (65 mm, 35 mm, 16 mm, 8 mm), we filmed digitally, in Mini DV format. We alternated between different lenses throughout the (story) shoot."

"This is my fourth feature film with Laszlo and our seventh project together. All of these were shot and printed on Kodak film. Film is our medium for every project we do for artistic, workflow and archival reasons. We LOVE the way film looks and feels especially when it is also projected on film. We will rely on the beauty of film for our upcoming projects as well."

"We didn't want a clean film. We wanted something rough, unpolished, textured. Winter here isn't sterile or blue. It's rust. It's sunlight trapped in cold brick. We shot everything outside, in raw natural light, and only one format could hold that harshness without flinching"

"“Light” is one of the film’s central motifs. From the very beginning of the project, I was determined to shoot on film, and we were fortunate enough to do so on 16mm. I believe every member of the crew felt the same way: a story about light had to be captured on film. The light scattered across the city at night, the blinding light of midday, the quiet glow of a single candle — how can cinema express two lovers drawing closer through their conversations about light? Exploring that question was a deeply joyful process."

"With film we could go straight into feeling. We were able to have an emotional and vulnerable approach, without letting the technical aspects take over. We wanted to create a timeless and painterly world, yet we wanted it to feel modern. To achieve that we used the right film stock, at the right time, at the right location. So we ended up shooting all the different Kodak stocks. A tender and vibrant visual language, about a new beginning and finding out who you are. And I think we really captured that."

"When asked why I shoot on 35mm despite digital’s resolution, my answer is subjective and anachronistic: photochemistry is magical—the way light imprints onto silver halides, its analog texture, grain, highlights, and color—something sensorial, mysterious, and timeless."