SORTIE
Le Spoutnik est allé, comme chaque mois, pêcher ici et là quelques films restés sans sortie en Suisse. Ces découvertes se déclinent en formats variés : courts, moyens, longs ou très longs métrages. Ce mois-ci, au programme : Un premier long métrage envoûtant, Sirens Call, à la fois indé et queer, nous entraîne au sein d’une communauté fantastique qui se transforme en réaction à une société américaine néolibérale en pleine décadence. Deux moyens métrages surprenants, quant à eux, jouent des codes de l’autodérision et de l’hybridité des genres et des formes pour interroger nos rapports et relations contemporains.
Sirens Call
Miri Ian Gossing, Lina Sieckmann
Allemagne, Pays-Bas · 2025 · 121’ | VOstFR
DIM 16.11 — 19:00
MAR 25.11 — 20:30
VEN 05.12 — 20:30
JEU 18.12 — 20:30
Structuré comme une odyssée hybride entre documentaire, fiction et performance, Sirens Call suit Una, une sirène nomade en quête d’elle-même dans une Amérique en crise. À travers diners, chambres d’hôtel et routes désertes, Miri Ian Gossing et Lina Sieckmann signent un premier film poétique, queer et politique, explorant l’hybridité comme acte de résistance. #miriiangossing #linasieckmann #missingfilms
@indiewire
FEBRUARY 19, 2025 2:00 PM
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Berlin 2025:
Cinematographers with feature films at the Berlin Film Festival break down how they made their creative choices.
BY SARAH SHACHAT @shach_attack
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The Look: In “Hysteria,” conversations turn into terror, into a retreat inward, into a threatening confrontation with others and oneself. Everyone is afraid, everyone is driven by projections — each person lives within their perception and interpretation. There is no absolute truth.
To translate the emotional intensity of human entanglements, fear, mistrust, and confusion into an atmospheric and subjectively immersive visual language, I chose — after several test shoots — the classic look of the Cooke Speed Panchros in their modern and workflow-friendly /i Classic version. With their gentle center sharpness, compelling bokeh, and organic fall-off towards the edges, they ideally convey the subjective reality and isolation of our protagonists.
In addition to prime lenses, dolly zoom shots were to become a signature stylistic element and a symbol of the searching gaze and inner turmoil of our main character. For this, I primarily chose the aesthetically well-matching Cooke Varotal Zoom 18-100, occasionally combined with a Musashi 1.7x PL Expander for full sensor coverage at a wide angle.
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Since I had shot director Mehmet Akif Büyükatalay’s previous film “Oray” on the ALEXA and was very satisfied with its look, reliability, and handling, we decided to use the Alexa Mini (as the ALEXA 35 was not yet available at the start of production). The soft highlight roll-off and natural skin tone reproduction of the ALEXA series are exceptional and played a key role in defining the authentic yet painterly dark look of “Hysteria.”
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Apart from the overall look, for the two film-within-a-film levels, we sought a different, more contemporary aesthetic to balance both realism and abstraction in relation to the historical context. For the opening sequence in the burning house, we used two old infrared CCT cameras in an unlit set, which filmed the intruder starting the fire and continued recording until they were ultimately consumed by the flames, along with the rest of the Building.(…)
