Robert Richardson ASC and Antoine Fuqua on Emancipation
Cinematographer Robert Richardson ASC was behind the film’s distinctive visual language. The almost monochrome look the filmmakers settled on was deemed powerful when capturing faces, as well as the film’s dramatic landscapes like the Louisiana swamps. What was happening to the character and their state of mind motivated where splashes of colour were added.
Grab a coffee and settle down with the next instalment in our Long Read series – available for free for 48 hours only! This weekend we’re sharing a captivating deep-dive into the making of Emancipation.
Delve into Richardson and Fuqua’s work on this historical drama for free in The Long Read for one weekend only.
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Jonas Rudström till Barbros 11/11 2025
Varmt välkomna tillbaka till Barbros!
Hösten är här och vad är mysigare än att vi ses på Barbros tisdag 11/11 då vi har bjudit in Jonas Rudström.
Det blir en kväll som går i den dokumentära filmens uttryck.
Jonas Rudström har en bakgrund inom kortfilm, musikvideo och reklamfilm, där han både har regisserat, fotograferat och klippt.
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The 2025 ICFF Manaki Festival
For each visit to the ”Manaki Brothers” Film Festival, I find I have to dust off new superlatives to describe it. The 46th edition, which took place between the 20th and 26th of September, is no exception. With over 540 guests attending -almost three times the normal amount of participants- it may well be the most ambitious one yet, and Bitola with its mosques, churches and ubiquitous dogs, is as impossibly charming as ever. And there’s a new director in charge.
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Motion Meets Emotion with ARRI
On Tuesday 16th of September, the intriguing headline ”Motion Meets Emotion with ARRI” attracted an expectant crowd to Camera Nordic’s headquarters on Västmannagatan in Stockholm. Visitors were treated to a unique opportunity to learn more about ARRI’s latest camera ALEXA 35 Xtreme, and invited to see for themselves how impressively it performs when supported by Arris lighting products, in particular the SkyPanel X.
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