Yorgos Lanthimos needed to relieve stress while turning “Poor Things” on sound courses in Budapest and “types of kindness” on the spot around New Orleans.
Thus, the author nominated with an icads of filth and difficult films “Dogtooth” “ “The lobster” And “The favorite” took art photography.
“Something clicked in me by doing 'Poor things': I went 'OK, why didn't I just enjoy that? “The filmmaker told Times at the opening of his first gallery exhibition,” Yorgos Lanthimos: photographs “, in Webber 939 Gallery in the Los Angeles Arts district. The show will be there until May 24.
For the file:
8:38 am April 7, 2025An earlier version of this article has poorly spelled the name of Adali Schell in two photo credits and disturbed the end date of the webber 939 program.
The filmmaker Yorgos Lanthimos, illustrated during the opening evening of an exhibition of his art photography at the Webber 939 Gallery in Los Angeles.
(Adali Schell / Mack)
This impulse resulted in nights by developing stocks in a black people of Lanthimos Greek in the bathroom in his apartment in Budapest. Emma Stone, who would go to Win an Oscar For his performance in “Poor Things”, often joined him after extended work days at Origo Studios.
“We have learned to treat both black and white and color,” explains Lanthimos. “It has become like our meditation, our relaxation.”
A crowd of art fans and industry people gathered last weekend to discover the entirely photochemical impressions – no scanned step was involved – lining the white and red brick walls of the gallery. Monochrome predominantly photos taken during the production of “kindness” in stone, co-star Jesse Plemons And sometimes random Louisianans posing, often, with their obscured or diverted faces from the objective. These works are presented in the book “I will sing these songs beautifully.”
A black box on three sides at the back of the gallery has rich colored paintings and classic black and white portraits of “Poor Things”, the latter took the old -fashioned way with Ilford HP5 film plates in a Chamonix 4×5 camera in wood and carbon fiber. Collected in another art book, “Dear God, the Parthenon is always broken,” The photos represent the Co-Star Margaret Qualley with smear of painting on her face, the stone like Bella Baxter in the costume of the Victorian period on the hood of a production vehicle next to a cup of coffee and foam food container, and the sea landscape with radiant shades on a volume scene with a dormant fog machine in front of it.
Of “Yorgos Lanthimos: photographs”
(Yorgos Lanthimos / Mack)
Of “Yorgos Lanthimos: photographs”
(Yorgos Lanthimos / Mack)
Of “Yorgos Lanthimos: photographs”
(Yorgos Lanthimos / Mack)
The rubble of the set struck for Baxter's house in this film, an entirely furnished and specially designed filming environment is particularly heartbreaking: through the objective of Lanthimos, it seems that it was struck by a tornado. Such images can deduce that the director deconstructs his work in one medium with another, but there was nothing so intentional in his mind.
“It was:” Why don't I see if, with my photograph, I can find something here that is a different perspective from what's going on in the film? ” “Said Lanthimos, who acquired basic photography skills at the film school in his native Athens, and took photos of advertising for his first Greek traits when there was no money for photographers.
“I also had this privilege of being able to go where I want, in the corners that no one would never be while they watch the film,” he adds. “Everything was a set built on” poor things “. I was able to go behind and in addition, see the construction and demolition, which were interesting enough for me to photograph visually and emotionally.
The photographer took a different approach during the filming of “kindness”, turning his Mamiya 7 or Pentax 6×7 of the real locations of production to capture life – or a discouraged semblance – beyond the staging of the film.
In a large Redolent print, a woman in a white coat stands next to a section of deserted road, looking beyond a plot of grass while the shadow of a utility pole bisses his body from head to heels.
An image of “Yorgos Lanthimos: photographs”. The work of Lanthimos “does what everything that still makes photography does, which suggests a narrative beyond the frame and the subject,” explains Michael Mack, who published the images of the filmmaker in the form of a book.
(Yorgos Lanthimos / Mack)
“This image does what everything that makes photography does, which suggests a narration far beyond the frame and the subject,” observes Michael Mack, whose London Éponyme publishing company Make the book “Song”. (“Parthenon” is from the Greek publisher Empty.) “He has this reader who makes you question precisely what it is, what happened, why is she there?
As films do that “The lobster”, “ The images of New Orleans of Lanthimos challenge what you expect to see the project. It is not about to articulate what we are supposed to do with it either.
“I can't really, because it is above all an exploration,” he says. “How can you see this world in a different way?” What else is to reveal?
“I just liked to experiment,” he explains. “Filming a scene at night, then looking at the eyes and seeing a tree, imagining what it would look like if I flashed the tree and revealed all the details that I could not see with my eye.”
Of “Yorgos Lanthimos: photographs”
(Yorgos Lanthimos / Mack)
Lanthimos also released his camera while turning the next “Bugonia”, with Stone and Plemons. He does not know if they will be part of another book or exhibition, but it is certain that his new creative outlet is there to stay.
“You have a freer association,” says Lanthimos about this camera work. “For any reason, we are more indulgent with less narrative photography, which I like.”
An excited crowd listens to the Lanthimos of Yorgos in a Q&R during the opening evening of his first show La Gallery.
(Adali Schell / Mack)
