Kennedy by Anurag Kashyap which had its premiere at the 76th Cannes Film Festival. It is about an insomniac ex-cop who dwells in different circumstances looking for redemption. The ex-cop, who is presumed dead for a long time, operates secretly for the corrupt system.
Links: IMDB
The intention was to create a film that felt stylish and dramatic, leaning fully into noir aesthetics. We embraced shadows, bold colours, and dynamic camera movement to craft slick, kinetic imagery. Much of the lighting came from practical sources, allowing the environments to feel organic yet heightened.
We worked with a minimal lighting package to stay agile, especially while shooting on real locations. This flexibility helped maintain momentum and spontaneity.
The characters inhabit morally ambiguous spaces, and we wanted the visual language to reflect that. Shadows often envelop them, reinforcing their internal darkness. Whenever Kennedy encounters a ghost from his past, a distinct green light subtly enters the frame, creating a visual cue that blurs the line between memory and reality.
We shot on the Sony Venice paired with ARRI Master Anamorphic lenses. The Venice was chosen primarily for its exceptional low light performance. Since much of the film takes place at night in the city, we wanted the freedom to shoot on real streets without heavily lighting them. The camera’s dynamic range and sensitivity gave us that flexibility.
Having worked with the Venice before, I was familiar with how to extract the best from it. The Master Anamorphic lenses offered remarkable sharpness, even wide open, while preserving the cinematic character we were aiming for.