NOVEMBER NEWS

Dear Readers,

Welcome to our latest newsletter. We are thrilled to share our Autumn Winter Issue 2024.

Also sharing some amazing memories from our latest event with the Hong Kong Film Worker Alliance UK and more news.

Take care,

Francesca R Zerenghi
Editor-in-Chief

AUTUMN WINTER ISSUE 2024

SUBSCRIBE HERE

A CINEGIRL X HONG KONG FILM WORKER ALLIANCE UK CULTURAL EVENT

SPONSORED BY COOKE OPTICS

We had an incredible event as part of our Cinegirl Club series, in collaboration with the Hong Kong Film Worker Alliance UK and sponsored by Cooke Optics. Our esteemed panelists, including Tammy Cheung, Mo Lai Yan Chi, Wong Ka Ki, and moderated by Kit Hung, shared their inspiring personal and professional journeys in filmmaking. The event highlighted their unique contributions to the industry and their commitment to storytelling through diverse and impactful narratives.

CINEGIRL’S HIGHLIGHTS FROM CAMERIMAGE

BY KASIA KACZMAREK

Christmas lights are up on Oxford Street and this can only mean one thing – time to get back to reality after the yearly pilgrimage to Toruń. Camerimage, if you’re not familiar, is a world-renowned film festival championing cinematography. Congregating camera crew and gear manufacturers in a vodka-soaked land (I can say that, I’m Polish), the festival is also known for its egalitarian parties. Trainees and Oscar-winners alike, pump their fists at the NRD dancefloor come sunrise.

It speaks volumes, therefore, when a film stands out clearly from the red neon lit, amorphous blob of sleep deprived memories. This year, that film for me is Tatami, deservedly winning both the Audience Price and Cinematography Debuts Competition. It’s hard not to spoil it when exploring what makes it so good, so let me just say that, set during World Judo Championships, it is a profoundly female story. Not feminine, female. The black and white, 4:3 cinematography actually enhances the storytelling (rare feat amongst the current trend, you know I’m right) in an essentially Brechtian way. Nevertheless, the superbly staged and shot fight sequences, as allegorical as they are, capture the sport itself and the high emotions of a match.

Camerimage’s other defining feature is the selection of workshops and seminars. A loud shoutout is due to Women in Cinematography who collaborated with the festival on curating a number of events under the Year of Brave Women banner. On another panel, aptly titled Widening the Lens, director Maura Delpero talked about the very process of defining excellence and the kind of voices that historically got to be our tastemakers – proving that this panel and the Year of Brave Women events were a welcome if overdue baby step towards the festival widening its own lens as an industry torchbearer. Only 350 more sleeps till we see how they do next year. I, for one, can’t wait.

**WE CAUGHT UP WITH CINEMATOGRAPHER ALICE BROOKS AND DISCUSSED ALL THINGS WICKED AND HER CINEMATIC JOURNEYS…**

Francesca Zerenghi (FZ): Your career has been incredible, especially over the past few years. Let’s start with your latest project, the film adaptation of the musical Wicked. Can you tell us about your journey to this point?

Alice Brooks (AB): It’s been quite a journey. The last six years have been remarkable for my career, but it was a long road to get here. I’m especially grateful for my relationship with director of Wicked, Jon M. Chu, whom I met at USC. He believed in me and kept trying to bring me onto projects. His success with Crazy Rich Asians allowed him to bring me on for In the Heights. Then, Lin-Manuel Miranda brought me on for Tick, Tick…BOOM! While we were in post-production for In the Heights, Jon called and said, “Our next movie is going to be Wicked.” It’s been an incredible few years.

FZ: Do you think there’s a difference in how men and women are hired in this industry?

AB: I think this industry is challenging no matter your gender. That said, having people who believe in you as an individual is crucial. I’ve been fortunate in that regard. Finding my people, my champions, and sticking with them has made all the difference. I’m particularly drawn to directors who tell diverse stories and I love helping bring those stories to life.

FZ: You’ve worked across various mediums—from commercials to feature films. How did your journey start?

AB: After film school, I took every opportunity I could—commercials, music videos, short films. Jon eventually called me for The Legion of Extraordinary Dancers, a web series for Hulu. That project really bonded us and began our collaboration with choreographer Christopher Scott, who has worked with us on all our movies, including Wicked. I just kept saying “yes” to everything, eager to observe, learn and connect with new filmmakers.

FZ: Balancing work and family is no small feat in this industry. How do you manage it?

AB: It’s always a challenge, but I have an amazing family, and we support each other’s dreams. During Wicked, I decided not to hide something that I’m very proud of—being a mom. My daughter was part of my production process—she came to pre-lights, knew the crew by name, and even joined me during visual effects reviews and color grading. It was important to me that she was introduced to film and filmmaking where she could be and also could experience first-hand what I do and who I do it with.

FZ: What was the most exciting and challenging part of working on Wicked?

AB: When Jon and I first discussed Wicked, we talked about its themes and goals. One of my main goals was to highlight the deep love and friendship between these two women—Glinda and Elphaba. While the story unfolds in the epic world of Oz, at its core, it’s about an intimate relationship. Balancing that intimacy within the vastness of Oz was one of the biggest challenges but also the most rewarding aspect of the project.

FZ: What’s next for you? Any dream projects?

AB: I’d love to tackle a new genre—maybe a big action film like James Bond or Top Gun, or even a space movie. When I was nine, I went to Space Camp, and the idea of working on a film set in another galaxy feels almost as exciting as going to space in real life.

FZ: Finally, what advice would you give your younger self or those just starting out?

AB: When I’m at my lowest, it feels like it’ll last forever. And when I’m at my highest, I think that will last forever, too. But life happens in the middle. So, my advice is to enjoy the journey and find peace in the present moment. That’s something I constantly remind myself, and my daughter, of.