Cinematographer Tudor Vladimir Panduru discussed the demands and choices behind long takes during a masterclass at Jakarta World Cinema, drawing on his work with Romanian director Cristian Mungiu and Iraqi filmmaker Hasan Hadi. The session covered “Graduation,” “R.M.N.,” “Fjord” and “The President’s Cake,” and was moderated by Benh Zeitlin, director of “Beasts of the Southern Wild.”

The event followed Panduru’s career from “Graduation,” his second film as a cinematographer and the project that brought him international recognition. He had trained under Oleg Mutu, Mungiu’s longtime cinematographer, and met Mungiu while still a trainee. Panduru said the camera in Mungiu’s films is intended to remain unobtrusive rather than guide viewers toward particular interpretations.

Mungiu often builds scenes as plan-séquences, with a scene captured in a single shot. Panduru said this approach can require 20 to 40 takes, as the filmmaking team works to bring the performance and other elements together. He described the process as one that depends on trust and shared concentration, rather than simply repeating a scene because earlier takes were unsuccessful.

The masterclass screened a 20-minute take from “R.M.N.” featuring more than 100 people in a town hall. Panduru explained that the daytime scene was filmed at night, and said one of the main technical challenges was keeping everyone in focus within a single frame. Focus changes also helped reframe the action without moving the camera.

The discussion then turned to “The President’s Cake,” whose visual style differs from Mungiu’s films. Panduru said the children’s fairytale and its natural landscapes called for another visual approach, including the use of running jib arms and wheels—techniques he later used again on “Fjord.” Zeitlin said the clip prompted him to seek out the cinematographer because he had not expected the same person to have worked on both films.

For a family gathering in “Fjord,” which appears to take place near sunset, Panduru said he blocked natural light from outside to give the actors more time to perform. Another extended scene follows star Renate Reinsve from searching on the ground to jumping into the sea. Panduru said keeping the scene in one shot preserved the characters’ emotional progression. He joined Reinsve in the cold water with a camera, supported by a crew of grips, and said synchronizing with the actor during the jump was the most difficult part.

Panduru also spoke about choosing projects through shared values and personal affinity. He said he would not normally take on an action film unless it had a social drama at its center, and described his work with Mungiu as helping the director tell stories rooted in social issues.

Sources: Variety.