La Ghostification, USA, Musical Directed by Lena Glikson A surreal and symbolic journey through the inner world of a girl processing abandonment and emotional distress. Through haunting imagery — from mirrored selves red to threads like tears and disturbed dancing — the video explores the psychological aftermath of being ghosted. Set to a dark, emotionally charged track, the visuals blur the line between dream and nightmare, revealing a desperate attempt to communicate with someone who has vanished without a trace.
Oasis, 9min., Mexico Directed by Hugo Hernández Jiménez An immersive and vibrant journey into the heart of Mexican lucha libre, where Arena Querétaro emerges as a living protagonist, welcoming its spectators and inviting them to delve into the essence of the fight. Through the accounts of local wrestlers, the magic and myth of pancracio intertwine with the culture and emotions of a community that gathers around the ring, rejoicing, cheering, and raging alongside the protagonists of the fight.
It was a true honor interviewing the extremely talented Director of Photographer Tristan Oliver. Every single film he’s worked on has turned out great. And there’s not many people you can say that statement about! If you don’t believe, simply go to his website and watch some of the short films he’s worked on and see his list of feature credits: https://www.tristanoliver.co.uk/
Matthew Toffolo: Where were you born and raised? Was cinematography something you always wanted to do as your career?
Tristan Oliver: I was born and raised in Gravesend in Kent. An unlovely and somewhat godforsaken town on the Thames estuary.
I knew nothing about films or photography as a child. My main passion was the theatre. I wanted to act (or be a doctor or something) My first real contact with the camera dept came when I was acting in a movie. It was something of a Damascene moment and I really threw myself into trying to get into that environment immediately afterwards. I didn’t even own a stills camera when that movie started!
What has been your most proudest work of your career? Or, what has been your favorite project to date?
In terms of feature films I would say ParaNorman. I had a fantastic time at Laika for two years and a very close, creative and rewarding relationship with the directors of that movie. I’m exceptionally proud of how it looks (even if no-one has seen it.)
Can you explain to us what an Animation Director of Photography does?
There is really no difference in being a DOP for stop frame or live action. The ultimate aim is to create something beautiful for the camera. To light and frame according to what you consider to be visually special. I wouldn’t want to make concessions to the medium of animation. That is by the by.
In practical terms, there are a few differences. We typically run a 50+ unit shooting environment which is an enormous amount of stuff to keep tabs on. That’s 50 sets, 50 cameras all running together. I need to ensure continuity and quality of look across that huge mess of stuff.
Other than that the main difference is working into the macro end of the lenses which can severely compromise the depth of field. We tend to work at very tight stops (16, 22) to compensate for this.
You just finished working on ISLE OF DOGS. Can you give us a sneak peak of what do expect?
Unique. Many of his tropes will be familiar to audiences. The flat lighting. The highly symmetrical framing. The art direction and propping. This particular movie is very busy and visually complicated. Compared with Fantastic Mr Fox for example it is really intense viewing. There’s an awful lot going on up there!
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Is there a type of film/TV show that you love to work on that you haven’t worked on yet?
I’d love to get my teeth into some American TV drama. The quality of work coming out of the States is astonishing. There’s so much of it and it’s nearly all really good. Well written, well plotted and edited. Everything.
In terms of movies, more live action please. I need a rest from the puppets!
What are you generally looking for in a director in order for you to do your job as best as possible?
All directors are different and as such, what they require from the DOP varies. Wes wants me to exactly put up on the screen what he has in his head. It is totally his vision so my role is very much reactive. With some other directors there is more of a creative collaboration, the role is proactive if you will. Neither is necessarily better than the other as long as you trust the director to bring the movie in.
What do you think a producer/director is looking for when they bring on you to DP the film?
I’d like to think that I’m the best at what I do. I have a huge amount of experience. I’m very professional and I bring on the best, most user friendly crews but essentially what a director needs is someone they can trust.
What is your passion in life besides cinematography and film?
So many. My daughters, my partner, beautiful Swiss wristwatches, restoring my 17th century house, good food, good wine , good company.
What movie have you watched the most times in your life (besides the ones you worked on?
There are lots but probably Kind Hearts and Coronets, the first Matrix and Ferris Beuler’s Day Off. That’s just for fun. In terms of cinematography, I think Conrad Hall was a genius and I can watch Road To Perdition any day of the week.
What advice do you have for young cinematographers who would eventually like to DP movies for a living one day?
Keep learning. Watch movies, read about movies. Who do you like? Why? Think about how stuff has been made. Don’t rely on your innate talent but keep building your technical knowledge, the two together will be very useful to you. And never ever send out a CV for a camera trainee position with your name followed by the letters DOP. It goes in the bin.
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Tasha, a woman in her mid 40’s, trudges through the end of her day until she sees an old flame on the train platform. The lovers reminisce and rekindle feelings towards each other only to realize that circumstance continues to keep them apart.
INTERWOVEN, 24min., USA Directed by Dawn Carpenter In the wake of the textile industry’s decline, a community in North Carolina fights to reclaim its economic future through innovative worker-owned cooperatives and sustainable practices, transforming the remnants of their industrial past into a beacon of hope and resilience for future generations.
Be Their Voice, 2min,. Austria Directed by FOUR PAWS Jesse, a curious Australian student, invents an AI sheep translator and befriends Sunny, an adorable merino lamb. Their light-hearted connection turns somber when Sunny reveals fears about “live lamb cutting,” a common wool industry practice. The film sheds light on this distressing reality and advocates for change.
A Magical Place, 39min., Canada Directed by Paul Steinberg “A Magical Place: The story of the Browser’s Den of Magic” takes viewers on a mesmerizing journey into the heart of Toronto’s most magical place, The Browser’s Den of Magic. This enchanting documentary delves into the life and passion of Jeff Pinsky, the shop’s dedicated owner, who has created a vibrant hub for magicians of all levels, from curious beginners to seasoned professionals. Through Jeff’s unwavering commitment, The Browser’s Den has blossomed into a nurturing community where the art of magic thrives.
When the World Changes, 25min,. USA Directed by Benjamin Caruccio, Changhee Chun Jeju Island: often labeled the Hawaii of Korea, the island is a hotspot for tourism and vacationing. This short documentary film reveals the truth about the island… that it was the site of a brutal massacre in 1948, leading to the murder of 10% of Jeju’s native population.
Shadow Boxing, 6min., Canada Directed by Arwen Saleah Mercado Shadow Boxing follows Navreet Chadee’s empowering journey as she confronts her inner shadows of self-doubt. This uplifting tale of an MMA fighter exceeds the rigorous training needed to enter the ring; It shows the strong mindset and determination of a young woman who is committed to her goals. By delving into the life of the girl behind the fighter, Shadow Boxing illuminates the heart of a true warrior, showcasing her courage and resilience long before she enters the ring.
New York Times Co. v Sullivan, 10min,. Canada Directed by Yanjia Yang In the heat of the Civil Rights Movement, a full-page ad in The New York Times sparked a legal battle that would redefine freedom of the press in America. Through archival footage, this short film explores how the case reinforced First Amendment protections and shaped journalism as we know it today. A must-watch for anyone interested in media, law, and the enduring power of free speech.
In the wake of the textile industry’s decline, a community in North Carolina fights to reclaim its economic future through innovative worker-owned cooperatives and sustainable practices, transforming the remnants of their industrial past into a beacon of hope and resilience for future generations.
I was fortunate to get an interview with the very talented and very busy Production Designer Beth Mickle. She is currently in the middle of production on the highly anticipated film “Collateral Beauty”. We talked about that film and much more in our chat together:
Matthew Toffolo: You have been the Production Designer on over 30 films in the last 15 years. Is there a film or two that you’re most proud of?
Beth Mickle: I’m incredibly proud of so many films that I’ve been involved with—fortunate to have had so many great opportunities! One that I’m especially proud of is “Lost River”, Ryan Gosling’s directorial debut. It was such a special project from the very beginning—Ryan wrote such a beautiful script with so much imagination, so many fantastical backdrops to play with. It was a smaller movie, and we all lived and worked together in downtown Detroit, collaborated closely to really shape that film as a team. I remember many adventurous weekends with Ryan and our cinematographer Benoit Debis, exploring the many awesome hidden areas of that great city. With limited resources, everyone jumped and got their hands dirty, and we built so many elements out of cardboard, tape, late-night pizza, and music…so proud of how every one of those sets came together, and the tone we found in that film. It’s one of my favorite films of all time!!!
PHOTO: Ryan Gosling, Eva Mendes & Christina Hendricks on set in “Lost River”:
The other film I’m wildly proud of is “Only God Forgives”, which Nic Refn directed and Ryan starred in. This was another lower-budget film, this one in Bangkok, where we all lived and worked together very closely once again. Exploring every neighborhood in Bangkok was a complete joy for a gal who loves to travel as much as I do, and Nic gave me so much creative freedom with that film. My fiance Russell Barnes (an incredibly talented Production Designer) joined me on the project as the art director, and we had the most memorable 7 months together in Thailand. the lower-budget nature of the production meant that we did a lot of the heavy lifting along with our amazing Thai crew—building, painting, and decorating sets with our own hands. And the markets were phenomenal!! We ran around to tons of different vintage markets and flea markets every week, loading the trucks with so many beautiful and unique pieces. Bringing together these rich, vividly stylized sets in this unbelievable country where we were living was such an unforgettable time in our lives.
PHOTO: Set Design on “Only God Forgives”
MT: You started your career working on lower budget/Indy films as a Production Designer. Would you suggest other people who are striving to become Production Designers in this industry take this route? What are the pros/cons of taking this route in comparison to starting on the low rung and working on Union productions?
BM: I would absolutely recommend this route for aspiring production designers. The lower budget world is where you learn to be resourceful, where you can somewhat safely make mistakes which can be recovered, where you learn the complete fundamentals of how a film is made. I try to approach every production—large or small–with a calm nature, and I think that comes from being in the trenches for so many years and learning how to adapt to in all situations. The biggest con to this route is that formal “union” filmmaking can be a bit jarring when you do finally make the leap to the larger arena—but once you learn those nuances, the process really smooths out. That is definitely one pro if you do start in the larger union world—you learn those protocols right away, so you enter the film world knowing how union positions are categorized and how the different departmental responsibilities are broken down.
In terms of career growth—I also think designers can make that mental shift of thinking on a smaller scale early in their careers on smaller films, to thinking on a larger scale as projects grow in size. But I think it’s much more difficult for designers to start with thinking on a larger scale, then downsizing their approach and expectations on a smaller project. And as we’ve seen so much lately—some of the highest quality films being made right now are the smaller, independent projects (“Ex Machina”, “12 Years a Slave” to name a few), and if a designer catapults you to doing an $80 million film as his or her first film, downshifting to this smaller budget range can prove to be a difficult maneuver.
MT: What is the biggest difference when working on an Independent film in comparison to a Hollywood Union Production?
BM: Union rules and guidelines!!! On an independent film, everyone is moving and touching and painting everything…on a union film, none of that flies. this took me forever to learn!!!! I’m always eager to grab the other side of a couch, to rehang picture frames on my own, always telling the set dressers “this is how i keep my muscles!!”…some laugh and some are not amused at all:)…At first I resisted the union delineations, preferring the all-hands-on-deck team approach, but after doing over 20 union films, and seeing that crews are treated so fairly and safety is so championed, I do see the benefits of having a regulated system. Film productions are such incredible, finely-tuned organisms that function so efficiently….though I’d still paint walls if they’d ask me!..:)
MT: Some will argue that DRIVE is one of the best films in the last 10 years. Do you remember the initial conversations with the director and your team about the overall look, feel, and tone of the film?
BM: “Drive” is a film is very near and dear to me. It made my career the incredible adventure that it is right now. I remember my initial meetings with Nic Refn well. I think he’s one of the most brilliant directors working today, and seeing how he approaches filmmaking is nothing less than inspiring. He’s constantly striving to shoot scenes in ways they’ve never been shot before, to make every frame as great as it can be. And his mandate is always “more is more.” So for a designer, taking this approach is a dream…every set can be as elevated and amplified as you want it to be. Every color can be as rich as possible, the idea of “extreme” is always embraced. so making “Drive”—as well as Nic’s following movie “Only God Forgives”—were a career highlight for me.
PHOTO: Ryan Gosling and Carey Mulligan in “Drive”:
MT: Whiskey Tango Foxtrot is out in theaters. What can people expect to see? How were your experiences working on that film? A lot of exterior scenes.
BM: “WTF” was another fascinating project to do. All but 4 minutes of the film takes place in Afghanistan, and we shot the entire film in New Mexico!!! It was by far the most challenging film I’ve ever done, but I was lucky enough to be working alongside the best art department I’ve ever had. We built 2 Kabul city street sets—both nearly a football field in size, and both almost built from scratch. Building so much scenery was such a great challenge on a relatively small studio film—we reused so many facades, repurposed so much architecture, repainted so many pieces….at first it seemed nearly impossible to pull off the tall order, but once we started improvising and playing around, the possibilities really became endless. Anthony Syracuse was our construction coordinator on that film, and I’m certain that he’s one of the best construction coordinators this industry has ever seen.
Beat Keepers: The Next Chapter, 43min., Canada Directed by Cindy Goldberg A powerful and inspiring documentary that follows a group of talented female drummers as they unite for a life-changing three-day retreat in Dallas, Texas. Through the raw energy of rhythm, unwavering mutual support, and a shared passion for music, these women forge deep, lasting connections and celebrate the transformative power of music to heal, empower, and unite.
What motivated you to make this film? I wanted to spotlight female drummers—many of whom are breast cancer survivors—who lift each other up through rhythm and resilience. Their stories deserved a stage, and I wanted to give them one.
From the idea to the finished product, how long did it take for you to make this film? Just under a year. It’s a sequel to my 2019 film, building on that foundation with a new chapter, new faces, and a deeper focus on community.
How would you describe your film in two words!? Bold. Uplifting.
4. What was the biggest obstacle you faced in completing this film? Staying true to a tight indie budget.
Festival Reviews 