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Photo by Stuart Wilson |
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NATASHA BRAIER ADF |
Born: ?, Buenos Aires, Argentina.
Education: Instituto Vocational de Arte, Argentina [1983-86]; Escuela de Fotografia Creativa, Buenos Aires, Argentina [1990-92]; Centre d'Estudis Cinematogràfics de Catalunya [CECC], Barcelona, Spain; National Film and Television School [NFTS], Beaconsfield, UK [1998-2001; MA Cinematography; she ph 8 dram shorts, 3 doc's, 4 commercials (e.g. 'Fusion'), 1 anim film and 2 music videos].
Career: 'It is difficult to say when I first became interested in cinematography. I did a degree in still photography and after a few years I started to realize that there was something called a Director of Photography in films and became interested in that. I decided to move from photography to cinematography. Lots of the things I studied in still photography were really useful. The school where I did my degree in Argentina was very good - it was a very artistic school of photography, lots of things in black and white and very good technical preparation. It was a really good base. I went to Spain and studied at the official film school in Barcelona. I made a few short films and decided I wanted to go to a really good film school - because none of the film schools I had been to seemed good enough. At the same time I was making lots of shorts so I was getting a lot of experience. I did some research and found the National Film and Television School in the UK, where they offered a Master's Degree in Cinematography. I applied and spent three years there. That was the main education I had. The school was very technically orientated. It wasn't like the experience of going to art school. They train excellent technicians and it's not a very arty atmosphere. I've always approached cinematography much more from an artistic point of view rather than a technician's point of view, so it was really useful. By the time I graduated I had a showreel. And I started to look for an agent, because that's what I was told I was supposed to do when I graduated and came out into the real world. The first year was not so easy, there wasn't much work. I kept doing lots of short films for not much money. Then the network of connections that you've built up over the years starts growing and people start getting proper jobs. So within two years of graduating I started working in commercials and paying back all my student loans. I did about five shorts a year and survived on shooting commercials and music videos. After four or five years I did my first feature and now I've done four and make only one short a year - maybe with friends from film school who are still waiting to make their first feature. It hasn't been easy but it hasn't been very hard either. I think the National Film and Television School was the key that made it all happen.' [From interview with Jamie Russell on the BBC Film Network website, 10 May 2007.]
Ph commercials and music videos.
Worked as a press ph for a year before moving to Barcelona. Teaches at the Estudio de Cine, Barcelona. Gave a masterclass at the Edinburgh IFF [2010].
Awards: New York FF 'Kodak Award' for Best Cinematography [2002] for 'Life and Death on Exmoor'; Manaki Brothers 'Golden Camera 300' Award [2009] for 'La teta asustada'.
Website: Natasha Braier
FILMS & TELEVISION |
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1996 |
Infinita [Fabián Fattore] 16mm/c; short/9m; prod CECC |
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1997 |
Contactos [Diego Pastor] 16mm/c; short/11m; prod CECC |
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1999 |
Axolotl [Alexis Dos Santos] 16mm/c; short/16m; prod NFTS |
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2000 |
Napkin [Marianela Maldonado] 16mm/c; short/14m; prod NFTS |
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2000 |
Swimming in a Sick Head [Victoria Hung] ?; short/4m; prod NFTS |
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2000 |
Life and Death on Exmoor [Cosima Spender] 16mm-35bu/c; doc/23m; cph: Sebastian Serraute; prod NFTS |
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2000 |
Fe [Erica Dunton] b&w-c; short/12m |
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2000 |
Sand [Alexis Dos Santos] 16mm-to-35mm scope/c; short/20m; prod NFTS |
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2000 |
The Look of Happiness [Marianela Maldonado] 16mm-35bu/c; short/25m; prod NFTS |
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200? |
The Idyll [Joachim Trier] ?; short/?m; prod NFTS |
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200? |
Fountain of Love [Harry Sinclair] 16mm/?; short/?m |
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200? |
Sant Fortunat Stories [Harry Sinclair] ?; short/?m |
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200? |
Confessions of DJ Cupid [Toby MacDonald] DigiBeta/b&w; short/?m |
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200? |
Libres de la tortura [Isabel Coixet] ?; doc/?m |
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2001 |
Taut [Charlotte Darbyshire] ep #3 (5m) of 4-part dance series; ep of Channel Four arts series 'Slot Art' (2001-02) |
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2001 |
Underlined [Gillian Lacey] ep #4 (5m) of 4-part dance series; ep of Channel Four arts series 'Slot Art' (2001-02) |
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2001 |
All About Desire: The Passionate Cinema of Pedro Almodovar [Nick Cory Wright] tv-doc/49m; cph: Joan Bricolle, Tim Knight, a.o. |
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2002 |
The Fishmonger [Jonathan Soper] DigiBeta/c; short/5m |
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2002 |
Mi vida sin mí/My Life Without Me [Isabel Coixet] s16-35bu/c; 2uc + 2ud; ph: Jean-Claude Larrieu |
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2002 |
Spyhole [Jodhi May] c; short/7m |
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2002 |
Jealousy [Dania Saragovia] c; short/8m |
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2002 |
Stjernekigger/Stargazer [Christina Rosendahl] DigiBeta/c; mus doc/72m; ph title seq; ph: C. Rosendahl, Philippe Kress, a.o. |
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2002 |
The Essence of Combat: Making 'Black Hawk Down' [?] mdv/c; 'making of' (collection of several doc's)/150m; co-c.op mdv; ph: Jonathan Buss |
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2002 |
We Got Old [Rachel Davies] c; dance film/10m |
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2002 |
Gold [Rachel Davies] 16mm/b&w; exp dance film/10m |
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2003 |
London Birds Can't Fly [Sarah Turner] 16mm/c; exp short/11m |
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2003 |
Moonlight [Myoung-woo Kim] ?; short/25m |
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2003 |
77 Beds [Alnoor Dewshi] 16mm-35bu/c; short/10m |
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2003 |
Being Bad [Laurence Coriat] dv-to-35mm/c; short/10m |
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2003 |
Ibrahim Ferrer, buenos hermanos [Cosima Spender] ?; mus doc/?m; prod World Circuit Records |
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2004 |
Breaking Out [Marianela Maldonado] dv-to-35mm/c; short/13m |
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2004 |
One Minute Past Midnight [Celia Galan Julve] c; short/12m |
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2004 |
Strange Little Girls [Savina Dellicour] s16-35bu/c; short/18m |
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2004 |
Holiday [Laurence Coriat] dv-to-35mm/c; short/18m |
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2005 |
RedMeansGo [Erica Dunton] HD+16mm+35mm-to-35mm/c |
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2005 |
Heavy Metal Drummer [Toby MacDonald & Luke Morris] c; short/6m |
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2005 |
Glue [- Historia adolescente en medio de la nada] [Alexis Dos Santos] dv+s8-to-35mm/c; 2uc: Iñaki Echeberria |
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2006 |
XXY [Lucía Puenzo] s16-35bu/c |
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2006 |
En la ciudad de Sylvia/In the City of Sylvia [José Luis Guerín] s16-35bu/c |
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2006 |
Omara - Flor de Amor [Cosima Spender] c; mus doc/60m; prod World Circuit Records |
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2007 |
New Love [Laurence Coriat] HD-to-35mm scope/c; short/20m |
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2007 |
Somers Town [Shane Meadows] s16+s8-to-35mm/b&w-c; ph Paris unit: Dean Rogers; The title refers to a neighborhood close to London's St. Pancras train station, where, in the fall of 2007, the Eurostar train company launched a new high-speed rail line to Paris. In an unconventional marketing move, Eurostar commissioned Meadows to make a film for the occasion, which began as a short and evolved into this 75-minute feature. |
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2008 |
Dolce vita africana [Cosima Spender] c; doc/59m |
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"La teta asustada" |
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2008 |
La teta asustada/The Milk of Sorrow [Claudia Llosa] c |
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2009 |
The Infidel [Josh Appignanesi] 16mm/c |
MISCELLANEOUS |
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199? |
Boy Meets Girl [dir; + ph] ? |
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199? |
Lolita [dir; + ph] ? |
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1996 |
El paraguas [Juan Coira; short/10m] focus puller; ph: Flaviano de Pablo; prod CECC |
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1997 |
Idoia [Asier Burgaleta; short/8m] co-c.asst; ph: Antonio Trullenque; prod CECC |
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1997 |
Meteoritos [co-d: Alexis Dos Santos; short/17m; + co-scrpl/co-prod/cast/co-ed] ph: Sebastián Almeida |
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1999 |
Von Something [Kim Nikolajsen; short] c.op; ph: David Luther |