Selected
Commercial
Narrative
Archive
Awards
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Best Cinematography
ECU European Independent Film Festival -
Silver
Cinematography London International Awards LIA -
Merit
Film Craft Cinematography ADC 97th Annual Awards The One Club for Creativity -
Gold
Film Craft Cinematography Loerie Awards -
Gold
Cinematography Mena Cristal Festival -
Grand Prix
Film Craft Dubai Lynx -
Ranked 3rd
Director of Photography of The Year BWR Rankings 2018 -
Grand Prix, Gold, Silver, Bronze
Voitto Awards -
Silver
Epica Awards -
Silver
Vuoden Huiput -
Cannes Lions
Film Craft & Film Lions short list
Press
Variety - David Harvey
This is a very good-looking film — Daniel Lindholm’s widescreen lensing particularly excels at eerie forest nightscapes and frequent sweeping aerial shots — paced with cruelly playful precision.Read →
The Hollywood Reporter - Stephen Dalton
The overall tech package is a cut above most genre efforts, especially Daniel Lindholm’s cinematography, which finds room for painterly vistas of the mist-shrouded lake and striking high-altitude aerial shots of blazing autumnal forests.Read →
Film Inquiry - Jake Leonard
Principally, Daniel Lindholm‘s cinematography must be praised for its ever-present beauty and his own ever-invisible presence. He manages to create a distinctive look for the film that gets the best out of its locations and yet only adds to the superb atmosphere created by the cast and their director rather than distracting from it. There is also a great car chase sequence that gets plenty of bang from very little buck.Read →
Cut Print Film - Chris Evangelista
Director Taneli Mustonen and cinematographer Daniel Lindholm bless their film with an ethereal beauty and soft-focus that most blunt hack-and-slash outings never come close to touching. Lake Bodom’s power is how gorgeous the film looks, with painterly frames galore. There’s enough originality here, mixed with truly stunning cinematographer, to make Lake Bodom stand out from the pack.Read →
Horror freak News - Michael Klug (Cinematography *****)
Speaking of a car chase, I was immensely impressed with the stunt and camera work of the film’s third act. It’s crazy-intense and had something like Mad Max: Fury Road been focused on only a couple of cars, and not dozens – this would be how it would have looked. It’s a breathless sequence and it just keeps going. I can’t properly express my love for what the filmmakers accomplished here – especially for what is essentially an indie film. Brilliant camera and stunt work? Holy cow, yes! Technically, I can find no fault. And with the mention above of this is what a quality and effective film looks like.Read →
Contact
+358 50 586 5519doplindholm@gmail.com
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