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Cooke at Festival de Cannes

By: The Cooke Team  |   1 min de lecture

The Cannes Film Festival is one of the most prestigious and widely recognised film festivals in the world. The first official festival took place in 1946 aiming to celebrate international cinema and featured films from 21 countries. In the years that followed the festival became established as a major cultural event and the highest festival prize, the ‘Palme d’Or’ was introduced in 1955. Its scope now also includes strands such as ‘Directors’ Fortnight’ and ‘Un Certain Regard’ aimed at highlighting innovative and emerging filmmakers. 

 Cooke lenses are proud to have been part of the creative process for five films at Cannes this year shot on a variety of formats by international cinematographers. 

 In the main competition – “All We Imagine As Light”, cinematographer Ranabir Das utilised S4/i lenses. As a mainly handheld production, this proved to be the perfect choice paired with the ARRI ALEXA Mini for low light shooting and a filmic look. 


'All We Imagine as Light', Cinematographer Ranabir Das
'The Other Way Around', Cinematographer Santiago Racaj

Also in the main competition – “The Other Way Around”, shot by Santiago Racaj. Racaj shot on the ALEXA 35 with S4/i primes and the Varotal/i FF 30-95mm zoom. “I have also found in the combination of this camera and Cooke lenses an excellent tool to get closer to faces and their textures in a very natural way, and this was essential for me. We decided to also use the zoom Cooke Varotal 30-95 for full frame which achieved excellent texture and smoothness.” 

 Moving onto the ‘Un Certain Regard’ wing of the festival. Cinematographer Gao Weizhe used Cooke’s Anamorphic/i lenses for “Black Dog”, framing for an extreme 2.47:1 aspect ratio to match the extreme locations featured. 

 “East of Noon” is showcased in ‘Directors’ Fortnight’. It was lensed by Abdelsalam Moussa, with the story moving back and forth between the real and the imagined, depicted in 16mm black and white and 35mm colour respectively. Cooke S4/i lenses shot the 35mm part. 



Finally, in ‘Critic’s Week’ “Eat The Night” was shot by Raphael Vandenbussche on Cooke S4/i paired with RED Gemini and KOMODO cameras. “I wanted to focus on skin tones, because it’s a story about love above the darkness of a cold city. The Cooke lenses are always on my side, loyal and great fellows in all situations.” 


black dog
'Black Dog', Cinematographer Gao Weizhe
eat thr night
'Eat The Night', Cinematographer Raphael Vandenbussche

 Cooke are proud to be a part of these varied and powerful films – thank you to all the filmmakers involved for #shootingoncooke