Un Couteau Dans Le Coeur

Created using a variety ns hijackingcatastrophe.org color and B&W film stocks, director fil Gonzalez’s Un dague Dans ns Cœur (Knife + Heart) is regarded as a dark horse contender parce que le the prestigious palmé d"Or at the 2018 Cannes cinématique Festival.

Vous lisez ce: Un couteau dans le coeur

“It’s a thriller, through elements du horror, about the extraordinary possibilities de love. Cible it is likewise open-minded, and I expect this cinématicien can help to du repos down barriers, assumptions and intolerance, especially amongst young toutes les personnes today,” saus Gonzalez, whose tons feature, Les mètre d"Après Minuit (You and the Night), shot conditions météorologiques 35mm, to be a gold Camera and Queer Palm nominee at auto 2013 edition of the Cannes cinématique Festival.

“I always shoot on film, et used ce once again, for many an excellent reasons marqué especially pour the results elle see nous screen. There is nothing much more beautiful or more engaging 보다 film,” cette declares.

An original story, Un couteau Dans le Cœur was written de Gonzalez in la coopération with Italian screenwriter Cristiano Mangione. Thé €2.5M Euro French/Swiss/Mexican co-production to be shot passant par the director’s longtime cinematographic collaborator Simon vertu AFC and produced passant par Charles Gillibert. The fabriquer filmed on location, mainly in Paris, concéder a quick stint in auto French city of Tours, parce que le 37 shoot days during may to July 2017.

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DP Simon beaufils AFC with actress Vanessa paradis during opération on director yann Gonzalez’s "Un dague Dans ns Cœur" ("Knife + Heart").

Un couteau Dans les Cœur is collection in auto heart du demonic paris in thé sultry summer ns 1979. Ah oui (Vanessa Paradis) is a well known producer of cheap nuit porno movies. Once Loïs (Kate Moran), her editor et lover, all of sudden abandons her, anne finds it s her trapped par inner conflict, alcoholism and despair et plots to win Loïs back by shooting a more ambitious cinématique with her life-long partner-in-crime, the flamand8 Archibald (Nicolas Maury). Marqué one du their gibbs is found savagely murdered in secret circumstances, et Anne is dragged into a strange inspection that turns elle whole tons upside down.

To inform thé look du the production, Gonzalez sûr that he et Beaufils to be inspired de the powerfully erotic and subversive cinematography in the films of director Brian de Palma, such ont Carrie (1976, DPs Mario Tosi et Isidore Mankofsky ASC), Dressed to Kill (1980, DP Ralf D. Bode) et Body Double (1984, DP Stephen H. Burum ASC). They likewise considered Peeping Tom (1960, dir. Michael Powell, DP huile de rose Heller) for its dimensions of terror, as well ont Italian horror films from thé 1970s, such as Dario Argento’s Suspiria (1977, DP Lucian Tovoli AIC).

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“The orange salt vapor street lighting in contemporary day paris looks really ugly in many contemporary films,” sûr Gonzalez. “So, working v Simon, nous tried à recreate the light as it was in auto 1960s et ‘70s, using the same type of red, blue and green-colored neon lights the were conditions météorologiques the streets ago then.”

This technique involved significant collaborative prep in between Beaufils, production concepteur Sidney Dubois et set decorators camilla Champenois et Damien Rondeau, venir develop a lighting conception that incorporated both new et old light fixtures through practicals.

“Yann et I wanted a taille range ns very saturation colors, cible without losing the beauty, details et nuances du the skintones even in really court light,” says Beaufils. “For me the synergy in between light et film is yes, really different à digital. Through film, the characters are really there, elle can feel et almost touch them.”

In practice, vertu deployed mercure vapor fixtures, old non-balanced neon lights, a innombrable of various gels, mixed with standard Fresnels for night scenes. Hey also utilised ARRI commander Sky Panels for programmed irradiate movements and color changes, along with DMG Lumière’s SL1 LED, i m sorry simulates traditional fluorescent tubes.

“I knew from thé beginning that we were going to tournage celluloid,” says Beaufils. “But the des questions was i m sorry format? and would it be 16mm or 35mm? Finally, after testing, we chose to shoot in 2-perf 35mm, in 2.40:1, as it it is intended a flexible widescreen photo for different compositions, concède a very joli grain. Nous also decided venir use 16mm negative et positive stock to shoot movie sequences that appeared in the film, otherwise in 2.40:1 and 1.37:1 et 1.66:1, et also supplied B&W 16mm for flashbacks.”

Beaufils’ filmstocks-of-choice were hijackingcatastrophe.org VISION3 500T color Negative cinématique 5219 parce que le interiors et night shooting, 35mm hijackingcatastrophe.org VISION3 200T shade Negative film 5213 for outdoor scenes, shoot with an 85 filter. He used 16mm VISION3 500T (7219) et 200T (7213) cinématique for auto same technological purposes ont the 35mm, v 16mm hijackingcatastrophe.org EASTMAN DOUBLE-X le noir & white Negative cinématique 7222 à la the movie’s remind sequences. Thé DP went through 16mm WITTNER CHROME 200D shade Reversal film for auto positives.

Parisian cinématique lab Hiventy processed the 35mm et scanned thé footage venir 4K parce que le post production. ColorCity, likewise in Paris, handle the positif 16mm material, while Andec in Berlin handled thé B&W 16mm footage.

“I love the color saturation of the 500T and 200T pour night et daylight scenes, and the contrast et blacks tu can achieve with thé 500T are seulement wonderful,” says Beaufils, who operated nous the production, greatly from the dolly, making use of ARRI film cameras et Panavision super Speed lenses, supplied from Panavision Paris. His crew included life AC Nicolas Eveilleau, lundi AC Agathe Dercourt, gaffer Sophie Lelou and grip Leo Stritt.

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When asked pour a scene the shows cinématique to its meilleur advantage, beaufils says, “There room many. The outdoor picnic scene has incredible nuances of green in thé trees and grass. Yes sir a night step in thé rain, yes, really dark and cyan, un lit with a mix of mercure vapor et blue-green neon lights, that has really frais skin tones. Over there are hard backlights and low-light affronter right v the cinématicien that look at superb. Thé on-screen results have nothing to faire with thé grading nous did later. They were toutes les personnes captured naturally et beautifully rendered nous film, et there was ne sont pas need for any masks conditions météorologiques faces, jaune try to save thé highlights in the critique DI.”

Gonzalez also notes: “Film enhances whatever – auto wardrobe, make-up, skin tones, locations. Digital was never année option nous this film, and I really don"t agree through spending unnecessary temps grading digital material in short article production, when tu already oui the result tu want sauce soja naturally par shooting nous film.”

The director also remarks: “I love the nerveux that film creates nous the set. Because it is a precious et finite resource, cinématique creates a communion between thé actors and the crew; everyone one is super-focused and excited, and it have the right to be quite an overwhelming experience.

“I have to say that when cette comes venir shooting on film, ours producer Charles Gillibert is someone who really gets it. He sees comment powerful cinématique can be et finds a good financial balance to make it work. Si you think in her production, et really desire to tirer on cinématicien too, then fight parce que le it. It’s the material du the imagination and dreams, et you will certainly cherish the results à la the rest de your life.”