It’s hard to imagine two more disparate films than God Help the Girl and Young Ones. The former – shot in Glasgow on 16mm – is anarchic, whimsical and vibrantly colored, echoing the spirit of the French New Wave. The latter – lensed on anamorphic 35mm during a smoldering South African summer – is formalist, brooding and nearly monochromatic, recalling both the vistas of the American Western and the hard-scrabble Dustbowl sagas of John Steinbeck.
Yet for cinematographer Giles Nuttgens, the projects held a common thread. Continue Reading ›