Netflix’s masterpiece, Athena, was shot mainly on the ARRI ALEXA 65 by cinematographer Matias Boucard AFC. Boucard utilized this extra-large sensor to enhance motion and storytelling in long takes, and within extreme environments.
Athena: Children of Men
Athena is a 2022 French epic action tragedy film directed by Romain Gavras. Starring Dali Benssalah, Sami Slimane, Anthony Bajon, Ouassini Embarek, and Alexis Manenti, the film examines inequality and police violence in a French banlieue community. The film had its world premiere at the 79th Venice International Film Festival on September 2022, where it competed for the Golden Lion award, and was released on 23 September 2022 by Netflix.
It was praised for its acting, score, direction, and technical aspects, especially regarding its cinematography. Athena’s DP is Matias Boucard AFC, who used the extra-large sensor of the ARRI ALEXA 65 to enhance motion, and camera kinetics, in long complicated takes. The cinematography reminds us of the great film Children of Men shot by Emmanuel Lubezki. There’s no doubt that Lubezki was an inspiration for Bouchard on this one.
Shot on the ALEXA 65
The main camera used to shoot Athena is the ARRI ALEXA 65, together with the Mini LF, paired with Angenieux Optimo Zoom lenses. The ALEXA 65 owns a huge sensor that is similar in size and shape to a 65mm film frame. That allowed Bouchard to use narrow lenses instead of wide glass.
Most of the action-dynamic shots are focused on one moving object, by utilizing a 40/50mm prime lens, in order to grant a natural field of view and compression. Bouchard preferred to shoot with a ‘natural’ FOV (field of view) due to more realistic shots, and reduced distortion. Also, the large sensor allowed Bouchard to enhance kinetics and movements, which are essential parameters when shooting in small spaces, tricky complex environments, and long takes.
Outstanding long takes
As mentioned, Bouchard adapted many camera techniques used by the mighty Emmanuel Lubezki. In fact, Athena reminds us of Children of Men in many aspects —long takes, intricate camera maneuverability, and shooting inside cars. Furthermore, the shooting environment was harsh, which dictated precisely directing conducted by director Romain Gavras. A similar technique and ‘energy’ were used on Extraction by Director Sam Hargrave. However, Hargrave used a much more compact form factor. In Athena, the camera operator needed to operate the heavy and cumbersome ALEXA 65, as opposed to RED Monstro in Extraction. And for that, the team has incorporated creative camera-shifting. Watch this epic camera shifting executed in Athena:
Drone-handheld- gimbal – crane
Many sequences were assembled by gimbal shifting. That means, a drone shoot, then removing the camera to a stabilizer, and then attaching it to a vehicle, then again handheld. All in one take. For instance, check out the BTS below, which appears to be a drone shoot (most of you would never guess that).
Also, check out this complicated one take, that was designed over weeks of rehearsals to achieve perfection— A lot of effort and very precise teamwork involved here:
So next time, when you watch the chaos of Athena, take a moment to appreciate those camera techniques.
