Embracing the bold look of PARIAH
The independent film PARIAH, written and directed by Dee Rees, wowed audiences at the 2011 Sundance Film Festival for its brave performances and vibrant visual design. The coming-of-age film follows Alike (Adepero Oduye), a Brooklyn teenager who is hiding a deep secret from her family. Judges honored the film with a Best Cinematography award for director of photography Bradford Young (RESTLESS CITY, MISSISSIPPI DAMNED). Despite a meager budget, the gripping story translated well enough on screen for Focus Features to acquire the film, making PARIAH yet another Sundance success story.
Shot over five years ago on an ARRICAM supplied by ARRI CSC with one day on an ARRIFLEX 235, PARIAHs alluring look was crafted on 35 mm, a practical choice considering the real locations that were used. We didnt want a lot of lights in the space because we wanted to be very, very intimate with these characters, says Young. Five years ago, there were not cameras that we felt would give us the textural qualities we wanted and allowed us to shoot in very low, low lights without a lot of noise. The ALEXA hadnt come out yet and we didnt have the kind of money to set up lights. I just felt like digital would hold it down, wouldnt liberate the image as much as we needed.
Shot over five years ago by DP Bradford Young on an ARRICAM supplied by ARRI CSC, PARIAHs alluring look was crafted on 35mm a practical choice considering the real locations that were used.
In a night scene, Young relied on existing light from inside a bus to reveal the stark, internal conflict of the teenager. That was shot wide open on an Ultra Prime with available light. It was about a stop under what I needed on the bus, but that added some textural value to it, he says.
Young and Rees discussed how the look and feel of PARIAH could be used to communicate character. For Alike, the young woman is on a journey to discover her true self. He notes, We came up with the whole notion of chameleons. They change colors based on where they are, what they step on, or which space they cross through. That developed into the overall mantra for us, mainly in the lighting.
With this in mind, the filmmakers developed a striking color palette for certain characters. We were totally committed to embracing color and really wanted something that felt textured on that level, says Young. Dee usually described Alike as subterranean. Shes in this underworld, hiding. Her skin tone responded to more colors in the blue science spectrum, which tended to be more stylized and other-worldly.
When asked about a shot or scene that Young is especially happy with, the cinematographer doesnt bring up the flashier scenes at a dance club or intricate camera moves. Instead, he describes an emotional scene when Alike comes to terms with her frustrations and trashes her bedroom. The actions were unpredictable and he had one take to capture it all.
None of that was planned. It was one of those things where there were a lot of happy accidents, says Young, who also served as operator on the film. Im really proud of how complicated, how beautiful, how imperfect, how layered that scene is. Its my favorite moment in the film, because it takes you through so much of an emotional, human trajectory. It was an orchestration of all the things we were doing in the film, with texture, color, contrast, camera movement, being up close and personal with characters -- it all culminates in that scene.
For Young, who studied film at Howard University, the Sundance recognition was beyond his wildest expectations. He says, I could not believe it. I still dont believe it. Our little movie won best cinematography? We had a very lean crew, not a lot of equipment. We were just working small and personal and intimate. I never imagined that it would win an honor for cinematography. I knew that itd be a stellar moment for Dee on every level. Visually, I was proud of some of the things we were doing, but I never imagined it would garner an award.
PARIAH will be released in select theaters Dec. 28 by Focus Features.
Screening Room >>
The new ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36/T4.2 is the widest professional anamorphic lens in the world. It allows anamorphic productions to incorporate visually stunning and distortion-free wide-angle perspectives into their storytelling.
One Lens - Many Looks >>
Cinematographer Tom Faehrmann tests the new Master Anamorphic Flare Sets, which enhance on-set creativity by giving each of the seven focal lengths three additional looks without sacrificing the resolution, lack of distortion or corner-to-corner optical performance for which the Master Anamorphics are famous.