The Berlin International Film Festival, renowned for its showcase of cinematic excellence, recently saw the film “DREAMS” clinching the coveted Golden Bear. Central to this achievement is the visionary work of cinematographer Cecilie Semec. In an insightful interview conducted just days before this accomplishment, Semec shared her unconventional journey into the realm of cinematography, her creative philosophy, and her commitment to democratizing cinema.
Cecilie Semec’s introduction to film was unexpected. “I actually didn’t know that I was going to be a cinematographer or work in cinema,” she recalls. Raised in a family firmly rooted in the healthcare profession, Semec’s moment of epiphany came at age 14, when a chance viewing of Louis Malle’s “Au Revoir Les Enfants” profoundly impacted her perspective on images.
Early on, she channeled her creative sparks through photography, documenting the lives of friends with an analog camera—a practice that laid the groundwork for her eventual transition to moving images. Her journey into film began in earnest with her move to Stockholm, where she embraced film studies and acquired foundational skills that would shape her career.
Semec describes navigating the hierarchical structure of cinema, a process that contrasts with her documentary roots. After formal training at Norway’s National Film School, she gained practical knowledge working alongside experienced cinematographers. Embracing roles from Clapper loader to camera operator, Cecilie honed her craft, particularly through documentary filmmaking, which she regards as her second film school. This background taught her storytelling, the importance of editing, and the delicate balance of observational filmmaking—skills crucial for directing narratives through the lens.
She appreciates the naturalistic style, the trust in natural light, and the importance of being present within the film’s environment. This perspective aligns with her preference for a collaborative and democratic filmmaking process, echoing the ideals of Scandinavian work culture, where non-hierarchical interactions and mutual support among crew members are standard.
Semec’s documentary background profoundly influenced her approach. “I learned to trust the natural light and see what it could bring me,” she notes, emphasizing authenticity in her storytelling. Her affinity for the handheld camera—rooted in the French New Wave’s dynamic style—allows her to engage with characters intimately, describing it as a way to “feel like I really get the rush from being so close to an actor.”
Cecilie Semec’s Scandinavian upbringing richly informs her work. She highlights the egalitarian ethos of Scandinavian film sets and the enchanting Nordic light as pivotal influences. “That has influenced not just me artistically but also how we pull off films in Scandinavia,” she explains, attributing the quality and spirit of her collaborative projects to these cultural nuances.
For Semec, film is “the art of the amateur,” a testament to its democratic nature. “I love that everybody can take up and make and tell their stories,” she says, championing accessibility and narrative richness over technical exclusivity. This commitment fuels her passion for cinema as a medium of universal expression.
Cecilie Semec’s recent work on the trilogy directed by Dag Johan Haugerud, which includes the film “DREAMS,” showcases her exceptional ability to capture intricate narratives centered on emotional intimacy and human desires. Alongside “DREAMS,” the trilogy features the films “SEX” and “LOVE,” each contributing to the thematic exploration of complex interpersonal relationships. These films, noted for their subtlety and expressive depth, reveal her focus on authentic storytelling and visual honesty. Despite being shot with relatively small budgets and tight schedules, each installment of the trilogy is a testament to Semec’s craftsmanship to create an intimate atmosphere that resonates with audiences. The trilogy’s distinctive visual approach was intended to provide a unique lens to each film, initially envisioned to be crafted by different cinematographers. However, Semec’s singular vision successfully unified the trilogy’s thematic coherence without compromising its visual diversity, solidifying her reputation as a cinematographer who deftly balances narrative nuance with visual expressiveness.
Cecilie’s cinematic influences are as diverse as her work. Her admiration for directors like Agnès Varda, Michelangelo Antonioni, Francis Ford Coppola, and Sofia Coppola speaks to a deep appreciation for both storytelling and visual composition. Films such as “Happiness,” “Red Desert,” “The Conversation,” and “The Virgin Suicides” serve as perpetual sources of inspiration, shaping her vision to present emotion and narrative through nuanced imagery.
As Cecilie Semec advances her craft, her dedication remains to storytelling that captures diverse voices, as evident in her upcoming project featuring indigenous communities in northern Norway. Her journey, an inspiring mosaic of serendipity and intention, continues to redefine the landscape of cinematic storytelling.
