This July, Screen On Screen (soft) relaunches as a space for the celebration of cinematography! I'll be deep-diving the DPs who've created some of modern cinema's most memorable work, but whose efforts perhaps haven't been lauded to the same extent as some of their peers (this remains a certified place of Roger Deakins worship though).
Today, I'm looking at the career of French cinematographer Helene Louvart. She started in her home country back in the 1990s, establishing strong creative relationships with directors such as Dominique Cabrera and Christian Vincent. Her career really kicked into gear in the 2000s though, and more recently she's come to further international attention thanks to her work with acclaimed Italian director Alice Rohrwacher, and her cinematography for American titles such as Beach Rats and Never Rarely Sometimes Always, both with Eliza Hittman.
As one of the most talented female cinematographers around, it's been encouraging to read more and more praise for Louvart, who's too long gone unsung; it's even better to see her gain such praise for some of her many collaborations with female directors. Next up, she has Cannes 2020 title Skies of Lebanon with another female filmmaker, Chloe Mazlo, followed by Alain Guiraudie's upcoming Viens je t'Emmene.
Films featured
The Wound, 2004
Ma Mere, 2004
August Days, 2006
Pina, 2011
Corpo Celeste, 2011
Atomic Age, 2012
The Wonders, 2014
The Smell of Us, 2014
Spectographies, 2015
Beach Rats, 2017
Petra, 2018
Happy as Lazzaro, 2018
A Family Submerged, 2018
Invisible Life, 2019
Never Rarely Sometimes Always, 2020