I don’t have much to say about the film itself in addition to what Daniel has said. That he wanted to have a new interpretation of the holocaust doc. I think filming through the lens of his experience made it fresh and approachable, especially with such a heavy subject matter. It was more about his grandma, their relationship and passing on of wisdom.

I remember speaking to my grandmas, both long gone, around the age of 10. One fled Stalingrad’s tractor factory while it was on fire. The other had brother who was injured at the front in ukraine, miraculously recovered, finished the war in Berlin, but was allegedly killed after the war for his boots by brigands in the woods! Sadly none of it is on film! But this helps to rekindle those memories.

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The Color Process was really cool on this one! Daniel and Vittoria shot some 35mm @kodak film with a stills camera on set and we used that to set the look. You can see that slide 2 and then you can see the various flavors of the grade in slide 3: in order- LOG, REC709, and then finally THE GRADE, which is an interpretation of the ref. In the ref she’s sitting in this warm, raking light and that gave her really warm skin. I like warm skin. People make fun of me for liking the color in interstellar and using it as a ref, there are scenes where Matthew Mcconaughey looks straight up like a carrot but I love that shit! Sorrynotsorry.

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500T grain plate, halation, all the usual garbage I like to put on-its all there.A lot of the look just flowed from there. Im super thrilled she wore a blue top for a lot of the interior shots in that ultra warm house.

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And then, you know the rest was kinda doc grading at its core. Relights, fixing little things that couldn’t be controlled on set, taming some highlights. Stuff like that! Enjoy!