Critics

“outstanding work establishing and then dismantling the film’s visual grammar”

Behind the Lens, on Buddy

“the very inky expanses of Zach Kuperstein’s glorious widescreen lensing”

Variety, on The Eyes of My Mother

“elegant camera movement in barren desert landscapes”

Screen Daily, on Woman of the Hour

“monochromatic cinematography couldn’t be more beautiful, more expressionistic or more dread-inducing”

Rolling Stone, on The Eyes of My Mother

“despite most of the scares taking place in almost complete darkness; you can always tell what’s happening visually”

De Facto Film Reviews, on Barbarian

“the camera gracefully floats through the spaces”

Los Angeles Times, on The Climb

“exquisitely shadowed lighting”

The Hollywood Reporter, on The Vigil

“a clear and thought-out visual language”

SlashFilm, on Woman of the Hour

“the feeling of continuously plunging further and further into the scene”

The Playlist, on The Climb

“spot-on cinematography from Zach Kuperstein, who uses stillness to his advantage with stressful closeups and POV shots”

TheWrap, on Don't Move

Interviews & Features