The central idea behind my special series this month on great contemporary cinematographers is that none currently enjoy the kind of recognition they deserve. For few is that truer than it is for Jimmy Gimferrer. The Spanish DP has been lensing films for over a deacde now, working often at the start of his career with director Albert Serra. But while Serra's stock on the international arthouse scene rose, Gimferrer's still hasn't entirely risen above the level of niche interest, a hidden gem for those who've already discovered it. Limited though my readership may be here at SOS, that's the point - to uncover gems too hidden for their own good, and shine a spotlight onto them, no matter how small that spotlight might be.
Gimferrer, who doesn't consider himself to have a specific cinematographic style, is a master of capturing natural and diegetic light and yielding from it breathtaking stylistic beauty. His exquisite pictorial sensibilities can lend a stark, inquisitive shade to otherwise warm intimate tableaux, or vice versa - a sumptuous richness to otherwise reserved, static medium- and long-shots. His black-and-white cinematography for 2008's Birdsong, alongside Neus Olle, contrasts vividly with his luscious period work on 2014's Falling Star, perfectly demonstrating his versatility and sensitivity. Gimferrer may not have the desire to be a superstar cinematographer, but his work is certainly worthy of far greater recognition, so I hope I'm doing my bit to bring it.
Story of My Death, 2013
Falling Star, 2014