Cinematographer Andrew Dunn, BSC on Killer Heat

The feature Killer Heat unfolds in the wake of a treacherous love triangle involving twin brothers on an exclusive Greek island. The secretive investigation that follows falls to a visiting detective known as "The Jealousy Man," portrayed by Joseph Gordon-Levitt. Director Philippe Lacôte teamed with BAFTA Award-winning cinematographer Andrew Dunn, BSC, and together they crafted a cinematic language that bridges the story’s multiple cultures. Dunn collaborated with Panavision London to assemble an equipment parcel headlined by spherical Primo primes. In the text that follows, the prolific cinematographer shares insights into his experience and explains why Killer Heat made a worthy addition to his impressive body of work.

Jo Nesbø is a hugely talented, successful Norwegian writer whose stories are mainly set in Scandinavia. Killer Heat is adapted from his book The Jealousy Man — a 108-page novella set in Crete. It’s a modern-day Greek tragedy. When invited to come on board the film by American producer Brad Weston, and to join director Philippe Lacôte, who is French-speaking, from the Ivory Coast, I found this mix irresistible!

We rapidly agreed this was to be a modern day film noir — a neo-noir, if you like — with references to the classics and to latter-day films, such as Chinatown, which is played so confidently. Actors, characters, locations as characters — cinematography! Also both the later and earlier versions of Body Heat, which have rich colours with deep, intriguing shadows.

We wanted to create and live in the harsh, unforgiving landscapes of Crete. Our journey begins with Nick Bali, an emotionally lost New York cop played by Joseph Gordon-Levitt, arriving on the island and rapidly becoming embroiled in the internecine shenanigans of Crete’s most powerful and influential family, who have their own issues: jealousy, greed and an unsolved murder.

The choice of Panavision was clear, to have their international support, incredible expertise, massive range of cameras and lenses. They are like an extended family to me, giving me an immense amount of confidence wherever I shoot around the world.

Shooting on the Sony Venice camera, the lenses we chose for this film were mainly Panavision Primos, which are now of course 'vintage.' There's a massive range of focal lengths available, with an extraordinary edge to them and depth of field to relish, providing the look we were seeking, plus the capability of attaching rear net filters, too - a terrific bonus, just gorgeous! With our filtration, the Primos were able to create liquidly intriguing shadows interwoven within the Greek heat. The inherent characteristics of these lenses encouraged us — and therefore the audience — to delve into these characters’ souls, discovering, too, the lack of them!

Everywhere in Greece, Crete in particular, has this incredible ancientness all around, above and below. Making this film, it was essential to feel the textures of that world, the tragedies of this family, the characters, the actors within, and the American stranger getting caught up whilst watching this recurring tragic tale, ancient and all too modern, unfold.

Our cast and our crew, our film making family, were truly international, from all over Europe, Africa and the U.S. We share this story with the worldwide audience through our film making expertise, the collaboration, the talents gathered around us each day on set, the choice of medium. The cameras and lenses are of paramount importance, and I know we chose well with Panavision!