![]() In a way, the later change of aspect ratio provides a literal broadening of one’s horizon. At the end of the film, we changed that framing, giving the viewer a more expansive perspective and allowing one to feel that the journey is coming to an end. In the more box-like aspect ratio, we could have wide landscapes and open skies, but also the interior scenes would feel more cramped and have more height. Going through a lot of photos, we realized that if we were to box in the frame through the majority of the film, that would allow us to have an expansive landscape and feel cramped at the same time. We wanted the film to resonate with that opposition throughout. British film Limbo, a wry refugee drama, directed by Edinburgh-born director Ben Sharrock and produced by Spain’s Irune Gurtubai and Angus Lamont of Crabapple Films, won the Golden. We had these expansive horizons and these cramped interiors. ![]() Overall, we had two things that were at odds. We started thinking about how we would shoot the interiors to capture that feeling. We wanted to create this spatial sense that if they weren’t boxed in, they could go anywhere and do anything. We wanted these endless purgatory-like landscapes. The first thing Ben and I talked about after he sent me the script was how we could portray these characters in a state of limbo. Inception shows old man Saito picking up the pistol on the table, confirming that Saito shot Cobb and then himself in Limbo, allowing both to wake up on the airplane in the real world. We spoke with Cooke about developing Limbo’s cinematic style, shooting on the remote island of Uist, and bringing the story’s humor and beauty into focus. Saito escaped Limbo by shooting himself, thus dying in the dream and waking up. ![]() For The Hollywood Reporter, “Sharrock and his cinematographer Nick Cooke capture the alien beauty of this stark island terrain in loving, lingering detail, with pleasing use of symmetrical framing and leisurely panoramic panning shots.” A veteran of documentary and dramatic film shoots around the world, Cooke endured the gale-force winds and harsh storms of Limbo's production to deliver a stunningly beautiful film. Shooting on the island of Uist, the filmmakers used the locale's wild, rugged landscape to inspire a whimsical and unique camera style. Sharrock reunited with Nick Cooke, the cinematographer who shot his first feature, Pikadero, to craft a film language that could convey the characters' sense of both community and alienation. Caught between his war-torn homeland and an uncertain future, Omar ( Amir El-Masry), an oud player from Syria, waits out his days with fellow refugees, trying to make sense of this strange new Scottish world. It shows the Scottish locals as not entirely keen. In the award-winning comedy, Limbo, writer/director Ben Sharrock brings humor and humanity to the travails of four asylum seekers housed together on a desolate Scottish island. I liked the way scenes are filmed with a panoramic view of the barren landscape, bringing home how isolating it must be for the few people who find themselves somewhat stranded on small Scottish islands. ![]()
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