The DP, who’s filmed dark stories in critical successes such as “Corpus Christi” and “Hatred,” is not referring to the constraints of the low-budget film’s 27-day shoot when he says he felt his location options were fading fast.
Often, the ceilings and walls seem to be closing in on the detective Robert, a man with many secrets – and whose life is at substantial risk if it gets out he may have more than a professional interest in the 80s Polish gay scene. What’s more, says Sobocinski, “The static camera is kind of a jail and locks our viewer within the frame – he can’t escape.” Meanwhile Robert “has to face his own feelings, has to see what he’s up against.”
This frame shape also allows for bigger close-ups without the need to show the area surrounding an actor on both sides, he adds. But one day before production began, producers decided to go with a wider 2.66:1 CinemaScope aspect ratio, the DP says, which forced the crew to scramble.
Source: Entertainment Trends (entertainmenttrends.net)
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