Cover photo: Luca Guadagnigno – ph. Giulio Ghirardi
Luca Guadagnino is a director who is having quite a moment. His latest film, Challengers, is one of the year’s most stylish and pop-driven movies. At this year’s Venice Film Festival, he presented Queer, adapted from William Burroughs’s novel of the same name, once again exploring themes related to desire.
While Guadagnino is often recognized for the narrative richness of his films, this article will delve into the formal aspects of his style, focusing on his use of lighting and cinematography.
Guadagnino’s storytelling is always reinforced by an impeccable mise-en-scène, which heightens the emotional core of his films and provides a functional atmosphere that complements the narrative. His cinematic vision is closely tied to his collaboration with cinematographers, most notably Sayombhu Mukdeeprom.
The Photography in Luca Guadagnino’s Movies and the collaboration with Sayombhu Mukdeeprom
As we have already explored, in order to build a film’s visual atmosphere, the work of a cinematographer is crucial. A key element in shaping the visual atmosphere of Guadagnino’s films is the work of Sayombhu Mukdeeprom. Mukdeeprom, a well-established figure in Southeast Asian cinema, has been instrumental in creating some of Guadagnino’s most iconic visuals in recent years.
Mukdeeprom’s approach is characterized by his adaptability to the natural lighting conditions on set, rather than relying on pre-determined plans. He is a keen observer, allowing organic light to guide the scene’s aesthetic. His images are powerful in their simplicity, often requiring fewer angles or setups, and are inherently narrative.
Call Me By Your Name
Set in 1983 in the Lombardy countryside, this film captures the tender relationship between two young men, with the cinematography playing a key role in conveying the story’s emotional depth.
Mukdeeprom’s contribution lies in creating lighting that feels as natural as possible. He has spoken about how the elements of the film were organically arranged by Guadagnino, with the cinematographer adapting to the light available on set rather than forcing a particular aesthetic. The result is a luminous, sun-drenched world that enhances the film’s intimacy and emotional warmth.
Suspiria
Suspiria, another collaboration between Guadagnino and Mukdeeprom, is in stark contrast to Call Me By Your Name. A remake of Dario Argento‘s 1977 horror classic, Suspiria is set in 1970s Berlin during the Cold War. Here, the lighting and mise-en-scène reflect the cold, brutal atmosphere of the city and the eerie tension of the story.
The cinematography in Suspiria is designed to evoke the bleakness of Berlin’s winter, reinforcing the film’s psychological horror. Light is used strategically to emphasize the sinister atmosphere within the dance school, heightening the sense of dread and mystery.
Challengers
In Challengers, Guadagnino explores competition and passion in tennis, continuing his exploration of light as a narrative tool. From the very first scenes, it is evident how light is being used to amplify the characters’ inner conflicts, blending the physicality of sport with emotional intensity.
The bright, seductive lighting highlights the intersection of the tennis court with everyday life, framing the action as if it were a high-end commercial. While the lighting in Challengers retains a sense of naturalness, it is more controlled and polished compared to the previous films, mirroring the film’s commercial aesthetic and the presence of numerous brands.
