Camerimage Winner ‘The Girl With the Needle’ Honors Classic Psychological Horror, Cinematographer Says

As a seasoned movie critic with a penchant for European cinema and a soft spot for black-and-white films that capture history’s grimy underbelly, I must say that “The Girl With the Needle” left me thoroughly captivated. This film is a testament to the power of storytelling when it comes to unearthing the dark corners of our past and shining a light on them for all to see.

Initially reading the script for “The Girl With the Needle,” award-winning Polish cinematographer Michal Dymek claimed vivid mental visuals emerged immediately: stark, shrouded images of a dilapidated Danish slum, where laborers in sweatshops during World War I hunch over noisy machinery.

He observed scenes filled with classic framing that showcased decaying, confined areas where distressed individuals were trapped.

According to Dymek, it was “simply outstanding, powerful” – reminiscent of the finest scripts he’s encountered. Immediately, he felt certain that the movie needed to be shot in black-and-white. He explains, “I wanted to build a time machine, you see. Since our only real knowledge of that era comes from black-and-white images, it was essential for us to film it that way.

During the two years of preparation, as the project evolved into a collaboration between Denmark, Sweden, and Poland, Dymek stated that Leica Hugo lenses were chosen to maintain the distortions characteristic of old glass, in keeping with the authentic archival images depicting early 20th-century life dominated by captains of the Industrial Age.

In these gloomy surroundings, it’s not surprising that a narrative about a ruthless murderer emerges, one who offers a solution – albeit at a price – for women struggling to care for unwanted infants.

“The Girl With the Needle” – a film written by Magnus von Horn and Line Langebek Knudsen, is inspired by real-life events from a grim era in Danish history. The narrative revolves around Karoline, a worker in a textile factory, whose life becomes increasingly perilous as she relentlessly strives to improve her circumstances.

Camerimage Winner ‘The Girl With the Needle’ Honors Classic Psychological Horror, Cinematographer Says

Working with von Horn on “Sweat,” a 2020 tale about obsession and social media myth-making, made it clear to Dymek that they could once more develop a visual vocabulary to convey the sense of impending, eerie forces, as he puts it.

To portray Karoline’s dismal, crumbling surroundings convincingly, played with remarkable subtle intensity by Vic Carmen Sonne, Dymek chose locations near his alma mater, the Lodz film school. These places, unlike modern, sleek Copenhagen, retain an air of decay, as they still show signs of being “crooked, broken, and falling apart,” much like how Copenhagen appeared a century ago.

To create a more confined and oppressive atmosphere for the factory, Karoline’s tenement, and the rooms above the candy store where evil reveals itself, Dymek and van Horn opted to construct sets that they could manipulate completely. As the cinematographer explains, “It had to be narrow, with people feeling trapped, unable to move, and devoid of light or fresh air.

With the Arri Mini LF camera, equipped with a color sensor, they can apply filters to black-and-white footage, enabling them to adjust skin tones and the shades of darkness, as stated by Dymek.

They also wanted that world to feel “unpleasant,” he adds, “and to feel sweat, smoke, steam.”

Dymek explains that the storytelling rhythm will be consistent and formal, similar to Polish New Wave cinema with its long, uninterrupted shots of actors moving through scenes. However, he emphasizes that they didn’t adhere strictly to any rules or dogmas. Instead, they choose to follow the flow of emotions: They cut when it feels right, and hold a shot when it feels appropriate.

And just as important, he says, “allow the actors to lead the camera.”

Sonne’s ever-changing emotions, oscillating between optimism, anxiety, and sorrow, are frequently portrayed subtly through minor movements even from afar, emphasized by abrupt changes in brightness, with moments of overexposure during scenes of severe agony, according to Dymek.

Meanwhile, the camera shares similar limitations as Karoline’s life, making only limited movements – frequently required to keep the image free from any hint of the 21st century.

The set designs by production artist Jagna Dobesz brilliantly capture the era’s essence, immersing viewers in the grim reality of Karoline’s destitution, while simultaneously offering a tantalizing whiff of her single opportunity for immense fortune.

According to Dymek, meticulously adjusting the spaces and the lighting within them played a crucial role in his work. He mentioned that any wall initially white would be immediately repainted, ensuring that Karoline’s complexion was always the brightest hue in the composition.

In Trine Dyrholm’s portrayal of the sinister character Dagmar, inspired by the infamous Copenhagen serial killer, we find a more intricate and multifaceted depiction, according to Dymek. Instead of Sonne’s free-flowing improvisation on set, Dyrholm adopted a more deliberate, methodical acting style. This enabled the filmmakers to meticulously plan Dagmar’s movements as she skillfully orchestrates her deadly schemes in her candy shop.

Drawing inspiration from seminal works of dark drama such as “Schindler’s List” and “In Cold Blood,” along with German expressionism, Dymek and von Horn aimed to honor these outstanding pieces that delve into realms of madness in crafting the psychological horror of “The Girl With the Needle.

The unique and resonant sound environment crafted by Kim Dalum, Morten Pilegaard, and Oskar Skriver also introduces an exclusive layer that uniquely identifies their work, modernizing traditional approaches.

Upon looking back at the movie now, Dymek shares his thoughts, saying, “I believe this film served as an homage to the way our mentors guided us in appreciating cinema.

2024-11-25 12:47

Camerimage Winner ‘The Girl With the Needle’ Honors Classic Psychological Horror, Cinematographer Says

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