It’s the final day of the 2022 Cannes Film Festival and Darius Khondji is reminiscing. “The films that inspired me to be a cinematographer,” he explained, dipping into the memory banks, “Citizen Kane was a film that inspired me a lot. The films of Orson Welles—The Magnificent Ambersons, you know—the films of Carl Dreyer: Ordet, Gertrud, or Vampyr. Dreyer inspired me a lot!”
Unless you’re someone like Léa Seydoux, or Paul Mescal, few artists have more than one reason to attend Cannes any year, yet Khondji could boast that feat in 2022: as Dp on James Gray’s Armageddon Time, playing in competition, and as the recipient of this year’s Pierre Angénieux Tribute, an annual award for achievements in cinematography.
If the plaudit was overdue, the film was right on time: a deeply moving, autobiographical work from Gray with serious things to say about white privilege.
Unless you’re someone like Léa Seydoux, or Paul Mescal, few artists have more than one reason to attend Cannes any year, yet Khondji could boast that feat in 2022: as Dp on James Gray’s Armageddon Time, playing in competition, and as the recipient of this year’s Pierre Angénieux Tribute, an annual award for achievements in cinematography.
If the plaudit was overdue, the film was right on time: a deeply moving, autobiographical work from Gray with serious things to say about white privilege.
- 6/16/2022
- by Rory O'Connor
- The Film Stage
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