Writer and director JT Mollner’s film “Strange Darling,” which hits theaters on August 23, is a horror thriller that catches the viewer’s eye from the outset with its striking and intense imagery. The film, depicting the final months of a serial killer, opens with an exhilarating black-and-white chase scene and transitions through various vibrant set pieces, using bold colors, lighting, and framing to challenge the viewer’s perceptions of the central relationship. Mollner sets the stage with an opening title card emphasizing that the movie was shot on 35mm film, ensuring that every textured image underscores the significance of celluloid and the unfolding of the film’s many suspenseful surprises.
In addition to its plot twists, “Strange Darling” offers an unexpected revelation in its credits: the cinematographer is Giovanni Ribisi. While many recognize Ribisi from films like “Gone in 60 Seconds” and the series “Sneaky Pete,” he has quietly developed his cinematography skills over the past decade working on short films and music videos. Ribisi shared with IndieWire, “Cinematography is something I have been working on in the back room for the last 15 years,” highlighting his long-standing fascination with the craft.
Starting his career as a child actor at age nine, Ribisi immersed himself in film sets and cultivated a keen interest in camera technology. He has collaborated with renowned cinematographers like Dante Spinotti, Reed Morano, and Jim Muro, all of whom encouraged his exploration of filmmaking. Ribisi noted, “I found that there was an embracing attitude in that world,” emphasizing the supportive environment that nurtured his ambitions.
Ribisi articulated that while his acting career evolved through deliberate choices, his passion for cinematography grew more intuitively. He expressed his admiration for cinematographers, likening them to magicians who transform visual reality through their craft. Ribisi, who champions the use of film, believes that the analog medium allows for superior storytelling. “You can tell stories on iPhones, and people have made incredible movies like that. But I’m definitely a celluloid convert,” he stated.
He further explained his preference for the film production process, stating, “I don’t want to sound pretentious, but I think it’s important that when the camera’s rolling, we’re burning film. Everybody seems to be a little more focused.” Ribisi also argues against the notion that film is too expensive for indie filmmakers, noting that the extensive digital footage shot can incur higher editing costs.
Several years ago, Ribisi purchased his own 35mm camera at a time when film was losing its popularity and later built a complete filmmaking facility. He stated, “It’s pretty much soup to nuts including the post,” emphasizing that he has the tools to manage costs efficiently as a producer on “Strange Darling.”
His enthusiasm for 35mm filmmaking facilitated his collaboration with Mollner, a connection introduced by Steve Bellamy from Kodak. Ribisi appreciated the shared commitment to celluloid among the team, which reduced stress during the low-budget shoot. He explained, “Often as an actor, you can become disenchanted with a project where you’re around people who don’t feel professional. This was a case where everybody wanted this thing to succeed.”
Despite meticulous planning, Ribisi noted the unpredictability of production often required adaptability. “This is a small film,” he explained, detailing how last-minute changes could alter their plans. Nevertheless, Ribisi’s dedication to filmmaking has only intensified, as he looks forward to applying his experiences to future projects. “At the end of the day, I would have to say this was the hardest thing I’ve ever done, and I think JT would say the same thing. And I still couldn’t get enough.”