Q&A – George Dăscălescu, DoP: Nature dictates not only how the image looks, but also how the movie breathes

Apuseni Mountains impose a certain visual rhythm, nature dictating not only how the image looks, but also how the movie breathes, says George Dăscălescu, director of photography, in a short interview with curatorial.

George Dăscălescu is one of the leading contemporary Romanian cinematographers, with a career in film, commercials and music videos, projects appreciated both in Romania and internationally. A graduate of the “Nicolae Tonitza” Art High School and of the “I.L. Caragiale” National University of Theatrical and Cinematographic Arts in Bucharest, Cinematography department, he has signed the images for feature films such as “The White List”, “One Step Behind Seraphim” and “Luca” and the series “Black Money” (HBO).

His talent has been recognized with awards and selections at Gopo for “Best Cinematography” and his work has also been nominated internationally, including at the Emmy Awards in the category “Lighting Direction & Scenic Design” for an episode of the documentary series “Shadow OPS”.

In addition to his film work, Dăscălescu is an active collaborator in the creative and educational industries, and continues to explore new narrative and technological forms, imprinting each project with a distinct and memorable visual style.

The most recently released of the projects she has worked on is “Catane“, a black comedy that is Ioana Mischie’s feature-length fiction directorial debut. The feature film, shot in the Apuseni Mountains, is among the first Romanian projects to be made with green production, using resources, sets and objects according to an innovative industry methodology aimed at reducing the carbon footprint and promoting sustainable practices in filmmaking.
It is a story about tolerance, empathy and reconciliation in a world of deep contrasts and can be seen in cinemas.

What inspired you to define the aesthetics of the movie in the context of the Apuseni Mountains?

George Dăscălescu: The Apuseni Mountains were not just a setting, but an active element of the story. The inspiration came from the way this space retains a certain harshness, but also a fragility – a combination of monumental and intimate. I wanted the image to reflect this duality, to capture both the vastness of the landscape and the small, almost tactile details that say something about the characters.

From an aesthetic point of view, we were guided by the changing, sometimes unpredictable natural light of the area and chose to use it as unfiltered as possible.

Technically, this meant a restrained color palette and a controlled contrast, allowing the frame to breathe. The Apuseni Mountains imposed a certain visual rhythm, and the image was built in constant dialog with this rhythm, not against it.

How did nature – the light, the terrain, the weather changes – influence the visual decisions and the pace of the shoot?

George Dăscălescu: Nature was a decisive factor in the whole process, not just a backdrop that I controlled. The light in the Apuseni Mountains changes very quickly, and the relief creates strong contrasts between open and forested areas, so many visual decisions were made directly on set. We worked a lot with short windows of good light and we had to be very flexible, both as a team and in our approach to the image.

Changes in the weather also influenced the pace of the shoot. There were days when fog or clouds imposed a slower tempo, more static, more contemplative shots, and others when harsh light led us to a more tense visual language. Instead of fighting these variations, we chose to integrate them into the visual structure of the movie. Nature dictated not only how the image looks, but also how the movie breathes, and I think this is felt in the final pacing.

How was the visual dialog with Ioana Mischie, making her feature film debut?

George Dăscălescu: The visual dialog with Ioana was built very organically, based on trust and a lot of communication. Even though she was making her feature film debut, she had a very clear vision of the universe of the movie. For me, it was important to find a common language in which the image does not simply illustrate the story, but complements and nuances it.

We spent a lot of time discussing visual references, pacing and atmosphere, as well as leaving room for discovery on set.
Being a debut, there was a special energy – a curiosity and an assumption that made the process very lively. I think this constant dialog helped to build a coherent image that supports the story without dominating it, and was one of the strengths of our collaboration.

Did working with a first-time director offer more visual freedom?

George Dăscălescu: I wouldn’t necessarily say it was more freedom, but a different kind of freedom. Working with a first-time director meant a very open process, in which many visual decisions were built through dialog and experimentation. Ioana had a real willingness to test, adjust and listen to what the image proposed in relation to the story. For me, this created a space where the image could evolve organically, without rigid constraints, but at the same time with a clear direction.

The freedom came from the fact that we could look for solutions together. From a technical point of view, this translated into a flexibility in the visual language – alternating between more controlled shots and more spontaneous moments dictated by energy and context. I think this collaboration was a very balanced one, where freedom was underpinned by responsibility and constant attention to the coherence of the movie.