No Film School’s coverage of Canon’s Female Cinematographers Panel, featuring Quyen Tran, Nadia Hallgren and Catherine Goldschmidt.
ABOUT NO LIGHT AND NO LAND ANYWHERE
Cinemacy “The vibrancy of the city is fully felt through the cinematography (shout out to cinematographer Catherine Goldschmidt)…”
Vox Magazine “…No Light and No Land Anywhere is beautiful. The camera worships Brockis. It pans lovingly, almost voyeuristically, over her body in various stages of undress, lingering most often on her eyes, hips and legs. Through Sealey’s lens also exists a personification of the city of Los Angeles, as she juxtaposes dark, dingy motel rooms and dirty streets with sunny, spacious suburbs and empty beaches….(C)inematographic brilliance… make(s) No Light and No Land Anywhere worth watching.”
Crome Yellow “…eschewing over-stylized bright flashes of neon for a mundane, dark and disconnected setting. It’s this frank depiction that not only crystallizes the story’s themes of loneliness, but adds atmosphere and raw honesty.”
The Independent Critic “D.P. Catherine Goldschmidt lenses the film with tremendous humanity and avoids any histrionic trick shots or playing up that racial divide. Instead, she allows the camera to linger on the characters and within that space between their interactions. It’s beautiful and intuitive camera work that elevates Wannabe far above your usual coming-of-age story.”
An interview with director Matt Manson and CG about their stylistic choices, and use of the Digital Bolex.
Moveable Fest ” I…admire cinematographer Catherine Goldschmidt’s crisp images of places I used to know…”
Hammer to Nail “Catherine Goldschmidt captures the harshness of Will’s reality beautifully in a bleak blue-grey world on 16mm film—a medium that serves the story very well.”
JJ Murphy “Catherine Goldschmidt’s camera frames him like a hustler through tight framing, as he hangs out on the streets of Brooklyn… Goldschmidt shoots a number of scenes in which Will is isolated in abstraction, such as against out-of-focus car lights, or when vehicles whiz by in from of him as blurs of color… As he rides his bicycle through busy traffic in one stunning visual sequence, he continually shifts between figuration and abstraction. And the film’s final image, after Will leaves the frame, remains out of focus. In fact, one of the major strengths of Northeast is the inventive way it’s shot, including its grainy 16mm original format.”
Paste Magazine “The grainy, hand-held camera serves as an additional character whose ability to maintain a stable image declines in direct correlation to Will and his friends’ level of inebriation.”
Also available on Amazon, a recorded interview with Catherine Goldschmidt and director Gregory Kohn.
ABOUT WISHIN’ AND HOPIN’
Moviefan Central– “The retro 1960s vibe is told and shown well, this didn’t look cheap.”
ABOUT SWEET PROSPECTS
Nowness– An interview with co-directors Courtney Stephens and CG.
Catherine Goldschmidt is a guest writer for the online cinema magazine The Spread. Read her review of Arri/Zeiss Master Anamorphics, the Cooke Optics Factory Tour, and her in-depth report on Women Working Behind the Camera.
Affiliations and Awards
illuminatrix co-founding member
Member of the International Cinematographers Guild, IATSE Local #600
Member of BAFTA Crew
Academy of Television Arts and Sciences Summer Internship in Cinematography
Pat Hitchcock O’Connell AFI Scholarship