January 2022: Weathering the storm
Mark London Williams
We open this year’s column with a kind of meta reflection on cinematography itself, as contained in the recent Netflix series Voir.
Continentally savvy readers already know “voir” means “to see,” but this is a series about “seeing” movies, cinema, in the broadest sense, which is to say, what films mean, and what effect they have on both individuals, and the world at large. It’s done in a series of visual meditations, usually on the specific film in question which sent the various narrators into their respective futures as essayists, bloggers, reviewers, and makers of the medium.
From producers David Fincher and David Prior, Voir dropped with vastly less fanfare accorded to something like a new Cobra Kai or Witcher season, perhaps because it’s non-fiction, or more likely, because each episode averages about fifteen minutes. They are shorts in other words. About movies.
We caught up with cinematographer Martim Vian, who shot four of the series’ six episodes. The one we wanted to really talk to him about though, was the first one (if simultaneously dropped episodes can be said to have an order), called Summer of the Shark.
Cinematographer Martim Vian Shares the Importance of Eliciting Nostalgia in Netflix’s Voir
January 19, 2022
David Fincher and David Prior are producers on Netflix‘s latest upcoming series Voir— a series of visual essays celebrating Cinema and the personal connection we each have to the stories we see on the big screen.
Each episode celebrates various aspects of cinema through interviews and personal anecdotes from historians and filmmakers. The series’ cinematographer, Martim Vian, spoke exclusively to ProductionHUB about his specific vision for the series, the importance of personal and historical anecdotes, and the impact of Vior on the viewer.