Broadcast News
26/03/2003
Winterbottom returns to Pepper with 'In This World'
'In This World', the latest project from director Michael Winterbottom, has been graded and titled at Pepper.
Winner of the Golden Bear at Berlin Film Festival 2003, this often harrowing story follows two Afghan refugees as they make their way to London to seek asylum.
Despite the fact that the film consciously blurs the boundaries between fiction and reality, both Michael Winterbottom and producer Andrew Eaton did not want the viewer to make comparisons with documentaries or the more common docu-drama style of filmmaking. In response to this Pepper was required to develop a radical and unique approach to the grade.
Shot entirely on DV and scanned to 35mm, Winterbottom had a very clear idea about the look he wanted to achieve. This required a grain effect within the grade and careful handling of the colour saturation to reflect the storyline. The footage of the journey through Pakistan and Iran was flooded with yellow and the blues desaturated, while as the characters move closer to their destination, the tones become colder, more European, reflecting the linear narrative. It is through this, as well as through the edit, that the work blurs fact and fiction.
(GB)
Winner of the Golden Bear at Berlin Film Festival 2003, this often harrowing story follows two Afghan refugees as they make their way to London to seek asylum.
Despite the fact that the film consciously blurs the boundaries between fiction and reality, both Michael Winterbottom and producer Andrew Eaton did not want the viewer to make comparisons with documentaries or the more common docu-drama style of filmmaking. In response to this Pepper was required to develop a radical and unique approach to the grade.
Shot entirely on DV and scanned to 35mm, Winterbottom had a very clear idea about the look he wanted to achieve. This required a grain effect within the grade and careful handling of the colour saturation to reflect the storyline. The footage of the journey through Pakistan and Iran was flooded with yellow and the blues desaturated, while as the characters move closer to their destination, the tones become colder, more European, reflecting the linear narrative. It is through this, as well as through the edit, that the work blurs fact and fiction.
(GB)
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