Cinematographer Haris Zambarloukos has taken on ambitious visions for his longtime director comrade Kenneth Branagh, from the opulent pre-war world of Agatha Christie’s “Death on the Nile” and “Mur…
, from the opulent pre-war world of Agatha Christie’s “Death on the Nile” and “Murder on the Orient Express” to the excesses of “Sleuth.”
“Writing it from a distance of 50 years and determined to see it all from the perspective of a 9-year-old boy, I knew it wouldn’t be objective truth,” says Branagh. “It didn’t need to be a documentary.” Zambarloukos argues that filming in black-and-white can be a powerful way to focus the audience on emotion rather than the physical environment of the world on screen.
“Belfast” opens with an event in Buddy’s life that turns it upside down. One moment he’s playing out swashbuckler fantasies with his mates in the street in front of his family’s rented row house and the next he’s staring at a violent mob out to terrorize his Catholic neighbors. A less experienced director would have found the shot challenging even with a full crew, says Zambarloukos. “That’s the genius of Kenneth.”
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