Cinematographer Tudor Vladimir Panduru Discusses His Craft at Jakarta World Cinema

Cinematographer Tudor Vladimir Panduru recently shared insights into his filmmaking process during a masterclass at the Jakarta World Cinema. Known for his enduring partnership with Romanian director Cristian Mungiu, Panduru discussed his work on several notable films, including "Graduation," "R.M.N.", and "Fjord", as well as "The President's Cake", directed by Hasan Hadi.

The session was moderated by Benh Zeitlin, an Oscar-nominated filmmaker known for "Beasts of the Southern Wild". Zeitlin expressed his hope to collaborate with Panduru in the future, describing him as a cinematographer who can add a dimension to a project that exceeds the director's personal imagination.

Panduru traced his career chronologically, beginning with scenes from "Graduation". He trained under Oleg Mutu, who served as the cinematographer for Mungiu's earlier works, and was introduced to Mungiu while still in training. Although "Graduation" was only his second feature as a cinematographer, it established his international reputation. He explained that in Mungiu's films, the camera is designed to remain low-profile, allowing audiences to interpret the action without being directed toward specific elements.

A significant portion of the discussion focused on the challenges of shooting long takes, or plan-séquence, which is a hallmark of Mungiu's style. Panduru noted that this approach requires extensive repetition, with the crew often shooting between twenty and forty takes to capture the perfect performance. He emphasized that this process relies heavily on trust and synchronicity among the cast and crew, ensuring that all elements align in a single take rather than relying on editing.

Zeitlin highlighted that Mungiu's films prioritize directness and truthfulness while critiquing hypocrisy. Panduru agreed, stating that Romanian cinema is deeply rooted in social issues. He described his role as helping Mungiu convey these important themes. When selecting projects, Panduru said he looks for shared values and subjects that personally interest him. He ruled out making traditional action films unless they contain a strong social drama, noting that affinities guide his professional choices.

The masterclass included technical breakdowns of several key scenes. One notable example was a twenty-minute take from "R.M.N." featuring more than one hundred people in a town hall. Panduru revealed that this daytime scene was actually shot at night. He explained that focus pulling served as a form of editing and reframing within the static shot, making it essential to keep the large group in focus simultaneously.

Panduru also discussed his work on "The President's Cake", a film with a distinct aesthetic from his Mungiu collaborations. Zeitlin noted that he was surprised to discover the same cinematographer had shot both films. Panduru explained that the children's fairytale nature of the project allowed for a more creative visual language. The natural landscape inspired him to use running jib arms and wheels, techniques he later applied to "Fjord".

The discussion turned to lighting when a scene from "Fjord" was shown. This sequence, depicting a family gathering, appeared to be shot during magic hour just before sunset. Panduru explained that he blocked natural light from outside to extend the available time for the performances. This technique allowed the crew to maintain the desired mood without rushing.

The event concluded with an analysis of a long take from "Fjord" in which the camera follows actress Renate Reinsve as she searches the ground and then jumps into the sea. Panduru stated that Mungiu wanted the entire emotional arc of the scene captured without cuts to preserve its impact. He admitted that jumping into the freezing water alongside the actress was the most straightforward way to film the moment, though synchronizing the jump was difficult. He credited his team of grips for supporting him both in and out of the water, joking about the risk of losing the camera mid-jump.

Through these examples, Panduru illustrated how technical precision and collaborative trust are central to his work. The masterclass offered a detailed look at the complexities behind the seemingly seamless visuals of contemporary European cinema.