DWARF CONNECTION | User Story Klemens Hufnagl
„Optisch geizt „Märzengrund“ dank der Kamera von Klemens Hufnagl und Paul Sprinz nicht mit den Reizen karger Bergwelten und urtümlicher Lebensweise – es sind ganz große Kinobilder, die da aufgetischt werden.“ – Matthias Greuling, Wiener Zeitung
FILMMAKER MAGAZINE | DP Klemens Hufnagl on Human Factors
INDIEWIRE | How i shot that
„The sense of unnamed jeopardy – conveyed by Klemens Hufnagl’s floating camerawork – will likely remind viewers of the overall premise of Haneke’s Hidden.“ – Jonathan Romney, Screendaily
„Trocker’s precise direction creates a palpable atmosphere, brimming with effortless long takes as Klemens Hufnagl’s camera methodically glides across multiple environments, aiding in the slow build of a fiery tension.“ – Diego Andaluz, The Film Stage
The film’s strongest scenes, meanwhile, are those that find the women at momentary ease, worshipping at the local African Pentecostal church or kicking back and bantering with garrulous spontaneity, while cinematographer Klemens Hufnagl — richly attentive to skin tone even under harsh neon light — fluidly keeps pace. – Guy Lodge, Variety
JOY explores a real and continuous nightmare that is happening all the time, in nearly every European city. Shot starkly by DoP Klemens Hufnagl, mostly at night, the few interior scenes reveal the misery and fear that haunts women daily. – Filmuforia
CITY FLYER | Klemens Hufnagl – Ich jage dem Licht nach
The work of Austrian cinematographer Klemens Hufnagl (Macondo) is key in establishing the contrasts between Albert’s workplace — with its light-colored marble inside the mountain and its neon-lit, clinical-looking showers and cafeteria — and the farm, which is all dark mud and organic decay. The beautifully diffuse white light gives a remarkable intensity to the few splashes of color in both places. – Boyd van Hoeij, Hollywood Reporter
„Ein Mann, ein Raum. Wir sehen fast nur das, einen Mann in einem Raum. Und doch – durch den zärtlichen Blick, die behutsame Distanz, die ruhige Faszination – ist die ganze Welt in diesem Mann und in diesem Raum.“ – Jury Begründung Beste Kamera Diagonale 2019
„Movements of a Nearby Mountain is a beautiful film to look at, thanks to Klemens Hufnagl’s attractive cinematography usually in wide shots and experiments with different formats and granulation.“ – Marko Stojiljkovic, Ubiquarian
Shot in cold tones of blue, Klemens Hufnagl’s cinematography captures a mood of isolation and sadness that slowly evolves as the film continues. – Horrorbuzz
Klemens Hufnagl’s camera work produces some stunning images from a true sense of lost in the woods to a vile moment shot so tightly it will make you want to look away. – Deflipside
Cinematographer Klemens Hufnagl assists Justin P. Lange in suffusing THE DARK with many shades of black and grey, bestowing a moody atmosphere that perfectly complements its tale of death and resurrection—both physical and spiritual. – Rue Morgue
Mortezai’s dynamic but controlled camerawork—kudos to cinematographer Klemens Hufnagl—often favors behind-the-subject shots, following Ramasan… – Jessica Kiang, Indiewire
She observes her characters closely but never permits the camera to crowd or browbeat them, keeps the dialogue to a minimum and allows the images to flow freely and speak for themselves. – Dan Fainaru, Screendaily
Mortezai nudges Klemens Hufnagl’s camera in close to the characters without ever compromising the film’s unembellished social realism. – David Rooney, Hollywood Reporter
Ein Film von wilder Schönheit! – Serge Kaganski, Les Inrocks
Traumhaft-verrucht und zärtlich surreal … Ein durch und durch ehrlicher, zugleich aber auch magisch entrückter Film – hätte Rainer Werner Fassbinder eine Dokumentation über Wiener Stricherjungen gedreht, würde sie wohl so ähnlich aussehen. – Christoph Petersen, filmstarts.de
