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Scanning the program for the 2025 version of the<\/strong> Sundance Film Festival (which arrives just weeks after a series of devastating wildfires in Southern California, impacting film and television crews around the region), the first common thread that looms is the many debut filmmakers coming to Park City. And given the festival director is longtime indie film champion Eugene Hernandez, the return to a more low-fi Sundance makes sense. Although 2024 was Hernandez\u2019s first year in charge, his sophomore run appears packed with more edgy, alternative storytelling than Sundance has seen post-COVID. And why not? Hernandez\u2019s indie credentials are impeccable: co-founder and former editor-in-chief of Indie Wire, director of the New York Film Festival, deputy executive director of film at Lincoln Center, publisher of Film Comment<\/em>, and one-time Sundance juror. He\u2019s a film nerd to the core, which may well account for the many bespoke entries that may (or may not) have any commercial life beyond Park City\u2019s snowy streets.<\/p>\n What also jumps out from the 2025 line-up is the deep level of experience on the camera side. Longtime Local 600 Directors of Photography Tobias Schliessler, ASC; Tommy Maddox-Upshaw, ASC; Jonathan Furmanski; and Oliver Bokelberg, ASC (along with their union crews) have all carved out brilliant careers away from such indie film festivals asSundance. Other Guild members, including Doug Emmett, Thorsten Thielow, Mia Cioffi Henry, Eric Yue, Ethan Palmer, and Matthew Chuang, are all returning Sundancers who bring deep knowledge to the indie narrative feature\/narrative documentary formats. Having any one of those camera professionals in your corner is spectacularly helpful if you\u2019re a first-time director (such as Eva Victor, Carmen Emmi, and Hailey Gates, to name a few). Working with an experienced director of photography and his\/her equally experienced union camera team can make or break prospective Sundance projects, given the always challenging schedules and budgets.<\/p>\n Also sprinkled in among all the first-timers are some old-school names who are the stuff of Sundance legend. Thirty-four-year ICG member Liza Rinzler, who won the 1999 Cinematography Award at Sundance for the sumptuously filmed Three Seasons<\/em>, is back this year with the Premieres Section feature documentary\u00a0Move Ya Body: The Birth of House<\/em>;\u00a0<\/em>while longtime DGA director Justin Lin, whose 2002 feature\u00a0Better Luck<\/em>\u00a0Tomorrow<\/em> launched a wave of new Asian-American cinema still cresting today, returns to Sundance with\u00a0Last Days.\u00a0<\/em>Lin, best known for his five films in\u00a0The\u00a0Fast and the Furious\u00a0<\/em>franchise, debuts his haunting thriller (based on the true-life story of Christian missionary John Allen Chau), shot by Oliver Bokelberg, ASC, with a full Local 600 team. Back in the day, Rinzler and Lin were lucky enough to experience Sundance for the first time, just like ICG Director of Photography (and two-time Emerging Cinematographer Awards winner) Patrick Meade Jones will get to this year. That through-line is encouraging for union film and television workers as it speaks to Sundance\u2019s greatest strength: continuity. Year in and out, the festival gives filmmakers a chance to have that Sundance feeling \u2013 sometimes for the first time, and sometimes for what feels like the first time all over again.<\/p>\n (Note: This article was compiled with information supplied by Local 600 members before the start of the festival. We are not responsible for the omission of films and crewmember names not provided to www.icgmagazine.com by the posting date.)<\/p>\n <\/p>\n U.S. Dramatic Competition<\/strong><\/span><\/p>\n Atropia<\/em> \u2013 <\/strong>Sundance veteran Eric Yue shot this satirical debut feature from writer\/director Hailey Gates about an invented city \u2013 Atropia \u2013 that’s home to war games, rendered in dazzling 4D (smells included), and just close enough to Los Angeles to double as a film set \u2014 and just far enough away that the performers who live on-site to bring the bustling faux-Iraqi streets to life are not exactly flourishing in their acting careers. Yue was joined by a full Local 600 camera team that included Operators Luke Rihl, Jake Magee and Jose Manuel Espinoza, 1st ACs Riley Keeton, Kyle Petitjean, and Evan Wilhelm, 2nd ACs William Hayes and Cleo Palmieri, DIT Mason Harrelson, Loader Samantha Chadbourne and Unit Still Photographers Tobin Yelland and Gunther Campine.<\/p>\n <\/p>\n Bunnylovr \u2013 <\/strong><\/em>\u00a0<\/strong>Guild Director of Photography Daisy Zhou shot this debut feature from writer\/director\/star Katarina Zhu about a drifting Chinese American cam girl, who struggles to navigate a toxic relationship with one of her clients while rekindling her relationship with her estranged father. Director Zhu plays Rebecca, an online sex worker whose yearning for connection collides with her vigilance for maintaining emotional and physical safety. Her unexpected reunion with her father, William (Perry Yung), is bittersweet, with his terminal illness giving them little time to repair their fractured relationship.<\/p>\n <\/p>\n Love, Brooklyn \u2013\u00a0<\/em><\/strong>Local 600 Director of Photography Martim Vian shot this story for first-time feature director Rachael Abigail Holder about three longtime Brooklynites navigating careers, love, loss, and friendship against the rapidly changing landscape of their beloved city. With humor and keen observation, filmmakers invite us into a world where past and present collide.<\/p>\n Vian shares that when discussing the visual approach with director Rachael Holder, “I realized that the most important thing would be to balance believability with sensibility. Rachael wanted to see people like herself on screen, characters that aren\u2019t often shown in movies in this honest and open way \u2013 real lives and real stories that we felt deserved an authentic yet cinematic treatment,” Vian describes. “<\/span>Photographing the nuances in time of day or weather, staying true to the real locations and environments we shot in, and ensuring all variations in skin tone had their space to shine were paramount to the movie\u2019s look.”<\/span><\/p>\n Vian adds that one of the first decisions he made with Holder was to photograph the spaces as much as the characters. “We went for relatively wide compositions, in mostly static shots throughout the movie, creating a window into the world the characters inhabit,” Vian states. “People exist in the context of their surroundings, and being able to see and feel these spaces, and bring Brooklyn to light was an important way to illuminate who these characters are. We decided to stick to wide lenses and shoot at a deep stop, allowing the viewer\u2019s eye to move through the frame and take in the surroundings, as opposed to isolating characters in blurry backgrounds. We lit scenes to T8.0 or more to achieve that result and mostly used focal lengths between 21mm and 40mm. The camera was often placed quite close to the actors allowing for a feeling of intimacy without voyeurism.”<\/span><\/p>\n The lighting plan for the film was to motivate from logical sources that were often visible in frame, while “also enhancing and imbuing them with a care and beauty that elevated the visuals,” Vian notes. “We were walking the line between real and romantic, attempting to achieve a grounded result that was also poetic and cinematic.\u00a0<\/span>After shooting some camera tests during prep, we worked with colorist Roman Hankewycz at Harbor Post to create a show LUT. Rachael\u2019s references all had a lot of warmth and were mostly from movies shot on 35mm, so we went for a pretty strong look that was somewhat inspired by movies and street photography from the 1970s and \u201980s. That LUT was carried through from set to post and was the starting point for our final grade.”<\/span><\/p>\n Keeping the set free of gear to support the actors and their performances was a key concern of the Local 600 camera team, who often relied on two cameras I was lucky to have an incredible group of filmmakers help bring this project to light. The core camera team consisted of A and B Camera Operators <\/span>Ben Spaner and <\/span>Zach Rubin, A Camera 1st AC <\/span>Vanessa Viera and 2nd AC <\/span>Taneice “Neicy” McFadden, B Camera 1st <\/span>Martin Peterson and DIT J<\/span>ustin Hartough, with additional operators <\/span>Christopher Gleaton, <\/span>Michelle Marrion and <\/span>Malcolm Purnell, and additional 1st ACs <\/span>Elizabeth Cavanagh, <\/span>Josue Loayza and <\/span>Edwin Herrera, as well as additional 2nd AC <\/span>Brian Cardenas.<\/p>\n <\/p>\n Omaha<\/em> \u2013\u00a0<\/strong>Guild Director of Photography Paul Meyers, ASC shot this spare road drama about a father, who after a family tragedy, takes his two young children on a journey across the country, experiencing a world they\u2019ve never seen before. As their adventure unfolds, one of his kids begins to understand that things might not be what they seem. Director Cole Webley makes his feature debut from a screenplay by Robert Machoian (The Killing of Two Lovers<\/em>, 2020 Sundance Film Festival).<\/p>\n <\/p>\n Plainclothes<\/em> \u2013\u00a0<\/strong>New York-based Director of Photography Ethan Palmer shot this first feature from writer\/director Carmen Emmi about a promising undercover officer, who is assigned to lure and arrest gay men only to fall in love with one of his targets. Straining to fill a prescribed role in the implicitly straight culture of the police force, Lucas (Tom Blyth) carries the crushing weight of his challenging undercover work as well as the threat of exposure after his clandestine encounters with Andrew (Russell Tovey). Palmer and Emmi use lo-fi VHS footage at key moments to ramp up the sense of unease, alternately signifying the police surveillance that haunts his conscience as well as flashes of memory.<\/p>\n “Plainclothes<\/em> was the best version of an independent film production,” Palmer asserts. “Carmen Emmi\u2019s wonderful original script led the way to a super-collaborative cast and crew environment, working nimbly over an 18-day shoot in Syracuse, NY. We filmed on the Alexa 35 and Sony FX3 using older Angenieux and Zeiss lenses, with Carmen supplementing texture and environmental shots on his Sony hi-8 camera.” Local 600 members joining Palmer on the film included Steadicam Operator Lizardo Reyes Jr.,1st AC Symon Mink, 2nd AC Thunnyahnondha Kaewbaidhoon, and Camera Loader Josiah Weinhold.<\/p>\n <\/p>\n Sorry, Baby<\/em> \u2013\u00a0<\/strong>Sundance alumna Mia Cioffi Henry lensed this poignant and tender debut from writer\/director Eva Victor, who also stars as Agnes, a graduate student-turned-professor navigating life post-trauma. Infusing the character\u2019s sardonic wit into its cinematic language of isolation and confusion, Sorry, Baby<\/em> uses its nonlinear formal structure and five-year duration to capture the triumphs and setbacks of Agnes\u2019 attempts to heal. Cioffi Henry says the film was shot on the North Shore of Massachusetts with a stellar East Coast Union Crew. “As with many of my past projects, I was working with a first-time director,” she describes, “but this time, our writer\/director was also the film\u2019s lead. Working within a low budget, Eva and I knew we had to spend copious amounts of time in prep talking through not just her shot list and plans, but really getting to the heart of the story and what we needed out of performance so that we could be in tight sync when we got on set. Very rarely did we second-guess if we had the shot as a result, even though we couldn’t sit by monitor together for most takes.”<\/p>\n Along with the film’s five-year span, Production shot over all four seasons. But Cioffi-Henry says it was “less about defining the different time periods by changing our tech specs on camera, as with how we lit the film, leaning into the character\u2019s emotional state to dictate where we went with the colors, lenses, and framing. Our biggest challenge was undoubtedly a three-minute locked-off shot that turns into an exterior nighttime Steadicam oner, expertly executed by our A-Camera\/Steadicam Operator, Dean Egan, and seamlessly lit by IATSE Chief Lighting Technician Melanie Nesteruk and Key Grip Brandon McGinnis. We used an Alexa Mini LF with DNA lenses from ARRI Rental in New York.” Cioffi-Henry was joined on the film by Local 600 members Egan, 1st AC Nolan Ball, 2nd AC Tom Bellotti, Additional 2nd AC Matt Meigs, DIT Nicholas Pasquariello, and Unit Still Photographer Phillip Keith.<\/p>\n <\/p>\n Twinless<\/strong><\/em> \u2013Award-winning indie filmmaker James Sweeney writes, directs, and co-stars in this unlikely bromance, shot in Portland, OR, about two young men who meet in a twin bereavement support group and form an unlikely friendship. Dylan O’Brien, who starred in the 2024 Sundance Dramatic Competition hit, Ponyboi<\/em> (shot by Guild member Ed Wu) co-stars with Sweeney in this off-beat comedy-drama. Local 600 members included Operators Phillip Anderson, Mike Vukas, Tyson Wisbrock, and Thomas Greer Firestone, Assistants Lane Clark, Kyril Cvetkov, Patrick LaValley, Eric Macey, Loader Allison Hoffman, and Unit Still Photographer Allyson Riggs.<\/p>\n <\/p>\n U.S. Documentary Competition<\/strong><\/span><\/p>\n Sugar Babies \u2013\u00a0<\/em><\/strong>L.A.-based Unit Still Photographer Jacob Yakob lensed this feature documentary (with his non-member brother, Joseph) about a college scholarship recipient and \u00a0TikTok influencer, who growing up poor in rural Louisiana, creates an online “sugar baby operation,” that thrives on talking, flirting, and sharing photos and videos, all without meeting the men who give her money. Director Rachel Fleit’s film is a deeply personal statement on poverty and dignity in modern America.<\/p>\n <\/p>\n NEXT<\/strong><\/span><\/p>\n By Design<\/strong> \u2013<\/em>16-Year ICG Member Patrick Meade Jones shot this feature about a woman (Juliette Lewis) who swaps her body with a chair, and everyone likes her better as a chair! Writer\/director Amanda Kramer, whose last feature Please Baby Please<\/em> won the 2022 Outfest Grand Jury Prize and opened the International Film Festival Rotterdam, crafted this fable-like story with Lewis’ character falling in love with a chair she can\u2019t afford. When she becomes the chair, she is gifted to a beautiful piano player-for-hire, Olivier (Mamoudou Athie), by his ex. Jones shares that “with many contemporary filmmakers attempting realism, with an Amanda Kramer film you go the other direction. You lean into the simulacrum of the set and the artifice of controlled lighting.”<\/p>\n Jones says By Design<\/em> wears its aesthetic choices on display. “As with any indie film,” he adds, “when you can\u2019t throw money or more time at something to achieve your goals, you have to be wise with the approach. So, I assembled a camera, grip, and electric team comprised of people I\u2019d worked with on short-form projects in the past few years. \u00a0We chose to shoot in 4K Super35 mode on 2x Sony Venice at 2500 ISO with Panavision 11:1 zooms, specially tuned by Guy McVicker.\u00a0 I wanted both cameras to be able to do anything at any point, allowing the actors to be the variable. Many times we\u2019d shoot wides and close-ups simultaneously to minimize the amount of takes the actors would have to do and help us get through our 15-day shooting schedule swiftly. \u00a0In post, working with Alan Gordon at Picture Shop, we assembled an array of emulative elements on top of traditional color grading to finish the look of the film in a unique and timeless fashion.” Jones was joined by Local 600 members Terra Gutmann-Gonzalez (A-Camera Operator along with Jones) Melisse Sporn (A-Camera 1st AC), and Milana Burdette (A-Camera 2nd AC).<\/p>\n <\/p>\n Serious People \u2013\u00a0<\/strong><\/em>Local 600 Director of Photography Nicholas Bupp co-shot this project with Neema Sadeghi about a successful music video director and expectant father who pushes his work-life balance to the extreme when he hires a doppelg\u00e4nger to handle his professional life, while he is left free to spend time with his pregnant partner. The co-directors of the project form an eclectic duo made up of Pasqual Gutierrez, who won a 2022 MTV Video Music Award and has worked with Bad Bunny, Rosalia, J Balvin, Madonna, Travis Scott, and The Weeknd, and Ben Mullinkosson, who win an X Games gold medalist for skateboarding in China. The film was shot over the course of four weeks with each cinematographer shooting various days in tandem. “There were no hard and fast rules when it came to the visual style, but we sought out a very simplistic and dogmatic approach,” Bupp describes. “Given the small scale of the film, there were numerous challenges and restrictions but we used them to explore a <\/span>non-traditional approach to the visual language.”<\/span><\/p>\n Bupp notes that a large majority of the film was shot with only the directors,\u00a0 cinematographer, and a sound person as the essential crew on set. “Directors Pasqual Gutierrez & Ben Mullinkosson used an outline of scenes each shooting day for the actors to come in, explore, and react to,” he continues. “We wanted to keep our footprint as minimal as possible, so we shot mainly with natural lighting and little to no camera movement. At the start of each shoot day, we would talk with Ben and Pasqual about the scene, and then find the best possible frame to emulate the emotions visually. The biggest challenge \u2013 but also a blessing \u2013 that we faced was flexibility. Becoming reactive and adaptive to our surroundings each day was essential.<\/span> We are grateful to Pasqual and Ben for placing their trust in us and for fostering such a creative environment.” Local 600 member Cory Burmester was 2nd Unit Director of Photography on the project.<\/p>\n <\/p>\n Premieres<\/strong><\/span><\/p>\n Come See Me in the Good Light \u2013 <\/strong><\/em>Director of Photography Brandon Somerhalder lensed this touching feature documentary about two poets, Andrea Gibson and Megan Falley, who go on an unexpectedly funny and poignant journey through love, life, and mortality. Supported by executive producers Tig Notaro, Brandi Carlile, and Sara Bareilles, director Ryan White (Assassins<\/em>, 2020 Sundance Film Festival; Ask Dr. Ruth<\/em>, 2019 Sundance Film Festival) returns to Park City with this moving portrait.<\/p>\n <\/p>\n Deaf President Now! \u2013<\/strong>\u00a0<\/em>Sundance veteran and long-time ICG Director of Photography Jonathan Furmanski [ICG Magazine.com An Affair To Remember<\/em>]<\/a> lensed this feature documentary for fellow Sundance alumnus Davis Guggenheim, co-directing with Deaf advocate, actor, and bestselling author Nyle DiMarco. During eight tumultuous days in 1988, four students must find a way to lead an angry mob \u2014 and change the course of history. With two Deaf candidates up for the role of president at the world\u2019s only Deaf university, Gallaudet, students saw the possibility of finally being led by someone like them. But when the board of trustees \u2014 composed overwhelmingly of hearing individuals \u2014 selected the lone hearing candidate, the groundswell of student activism that followed forced eight days of reckoning. Furmanski notes that “like a lot of historical documentaries, this film is largely archival-based with some present-day interviews and dramatic recreations. The interviewees are all deaf and use ASL, so we chose to shoot them simply, against a black backdrop, to highlight their signing; the staged recreations, however, used many techniques including new lens technology to represent a deaf point of view.”<\/p>\n Furmanski says that when he consulted with deaf people on the crew, “we had a lot of deaf representation, including co-director Nyle DiMarco,” he continues, “They spoke about how being deaf gave them heightened visual awareness and sensitivity, that they would focus in on things they know would provide sound but can\u2019t hear \u2013 like a mallet hitting a drum. So, we used Ottoblad and Petzvalux lenses, from Otto Nemenz and Old Fast Glass, respectively, to add defocusing and curvature to the corners and edges of the frame, bringing the audience\u2019s eyes into a similar concentration. The advantage of those lenses, as opposed to some post solution, is a wholly organic and integrated effect with a great deal of adjustability from shot to shot \u00a0\u2013 or even within a shot. Of course, we had more typical everyday challenges of a documentary \u2013 a lot of location work, not enough time, limited resources \u2014but we also got to shoot in some of the real-world locations where the story takes place, and one day on an LED volume stage for our car process work, which was one-thousand percent the right choice, but still felt a little luxurious for a documentary,” he smiles. Furmanski was joined on the project by Local 600 members<\/p>\n <\/p>\n Jimpa \u2013<\/strong>\u00a0<\/em>ICG Director of Photography Matthew Chuang shot this story for co-writer\/director Sophie Hyde (2022 Sundance feature Good Luck to You, Leo Grande,<\/em> 2019 Sundance feature Animals, <\/em>and 2014 Sundance entry 52 Tuesdays<\/em>), about a woman who takes her nonbinary teenager to Amsterdam to visit their gay grandfather, lovingly known as Jimpa. The girl’s wishes to stay abroad with Jimpa for a year means her mother is forced to reconsider her beliefs about parenting as well as confront her past.<\/p>\n <\/p>\n Kiss of the Spider Woman<\/strong><\/em> \u2013 <\/strong>Guild Director of Photography Tobias Schliesser, ASC, lensed this reimagining of the Tony-award-winning musical (and 1985 feature film) about two men in an Argentine prison who form an unlikely bond as one recounts the plot of a Hollywood musical starring his favorite silver screen diva, Ingrid Luna (Jennifer Lopez). Oscar-winning filmmaker Bill Condon (1998 Sundance hit Gods and<\/em> Monsters, Kinsey, Mr. Holmes, <\/em>and\u00a0Dreamgirls)\u00a0<\/em>writes and directs this visually sumptuous political fable that also stars Diego Luna as the political prisoner sharing a cell with a gay window dresser (Tonatiuh), convicted of public indecency who recounts the plot of his favorite Hollywood musical starring Lopez’s screen diva.<\/p>\n <\/p>\n Last Days \u2013<\/strong><\/em>\u00a0<\/strong>Sundance OG Justin Lin, whose 2002 feature premiere\u00a0Better Luck Tomorrow<\/em> signaled the beginning of a new voice in Asian-American cinema, returns to Park City with this haunting thriller that’s based on the true-life story of Christian missionary John Allen Chau (Sky Yang), an idealistic dreamer driven by overzealous faith and a reckless desire for adventure. In Lin’s propulsive drama, shot by Oliver Bokelberg, ASC, Chau embarks on a dangerous mission to convert the uncontacted tribe of North Sentinel Island, while a detective from the Andaman Islands races to stop him before he does harm to himself or the tribe. Shot in Phuket\/Thailand, London\/UK, and Trona\/CA, Bokelberg says he had just worked on a TV pilot with Lin, “and we were able to expand our collaboration and friendship on this beautiful project. We shot with local crews in each location, on the ARRI Mini LF with Leitz Hugo Lenses.”<\/p>\n Bokelberg says location work on the project was “fun and challenging. The first three days were on the ocean,” he continues, “and our DIT setup was a small boat. Getting on and off, was quite challenging, so we pretty much spent all day in the water. Other locations included a very humid Thai jungle and dry heat in Trona exceeding 110 degrees. All our crew was amazing, keeping great energy and spirit throughout. \u2013 it was a blessing to have found such talented crew members all over the globe. Our Local 600 crew in California was gathered from my long-standing relationships with Camera Operators Harry Garvin (A) and David Mun(B), Tony Schultz was A-Camera 1st AC and George Montjano III was our A-Camera 2nd AC. Andrew Deanna was our B-Camera 1st AC, and Hannah Levin was our B-Camera 2nd AC. Our DIT was Andy Lemon, and Utility was Andrew Oliver. Our Chief Lighting Technician was Roger Sassen and Dameon Carter was our Key Grip.”<\/p>\n <\/p>\n Lurker \u2013 <\/strong><\/em>Sundance veteran Patrick Scola [ICG Magazine May 2024 We Grown Now<\/em>] <\/a>returns to Park City, lensing this tale about a retail store worker (Th\u00e9odore Pellerin) who infiltrates the inner circle of an artist on the verge of stardom. As the “lurker” gets closer to the budding music star (Archie Madekwe), access and proximity become a matter of life and death.<\/p>\n![\"\"](\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2025\/01\/Atropia-Still_1-1.jpg\")
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