On My Radar: Jasmin Kuhn
Director and cinematographer Jasmin Kuhn talks technological gear, the films that have lit up her year and the DPs who have influenced her career, as she reveals what's on her creative radar.
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What’s the best use of cinematography in advertising you’ve seen recently?
I just watched Selena Gomez’s Love Your Rare beauty commercial, and it was beautifully shot — so natural and authentic. Having worked as a director/DP in the beauty industry for nearly 20 years, I’ve had clients stress over even the tiniest natural shadow cast by a talent’s hair. Every brand has its standards, and don’t get me wrong, I love shooting high-end, clean glamour spots. But it’s also refreshing to see beauty brands embracing a more natural look, from their casting choices to their cinematography.
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What website(s) do you use most regularly?
The New York Times (and not just for Wordle!) IMDb; I’m constantly browsing it to look up actors, directors, producers, DPs etc. With my first feature film Human in the works, IMDb has been an invaluable tool for researching female-owned production companies and producers that we’re now actively pursuing.
What’s the most recent piece of tech that you’ve bought?
MacBook Air Pro 13-inch, with all the bells and whistles. Since I travel a lot for work, I like to keep things light, and this machine is perfect for that.
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What product could you not live without?
iPhone. Though, honestly, if it weren’t for the amazing camera, I’d prefer to lose it on purpose more often. I slightly panic if a picture passes me by and I can’t capture it.
What’s the best use of cinematography you’ve seen in a feature film over the last year?
I just watched this incredible documentary called Daughters, directed by Angela Patton, with cinematography by Michael Fernandez, shot on 16mm film. The way they captured these moments of the girls remembering their fathers who are imprisoned was both beautiful and heartbreaking. This film reminded me of the sheer power of visual storytelling.
I’ve got to mention a TV show too; Ripley. Easily the most beautifully shot series I’ve seen. Every frame looks like a work of art, and it’s in black and white! It was shot by Robert Elswit, ASC, who’s a family friend. I hope he doesn’t mind me sharing this, but they had to shoot it in colour to satisfy Netflix, though Robert designed everything — from the lighting to the wardrobe and makeup — with black and white in mind. I highly recommend watching it but, please, on a big TV
What film do you think everyone should have seen?
That's a tough question to answer, but I’ll share two films that have impacted me: Eyes Wide Shut, directed by Stanley Kubrick, was the first movie I saw alone in a theatre. That experience ignited my passion for watching films by myself. It also greatly influenced my early work as a director making experimental short films. And Lost in Translation, directed by Sofia Coppola, is one of those films I can watch over and over. I love the storytelling, the atmospheric cinematography, the way it captures loneliness and connection. The feeling of being adrift in an unfamiliar place is both haunting and beautiful. I connected to this film on a deep level as I have found myself, throughout my career, in many unfamiliar places, often feeling lonely in cities filled with millions of people.
What’s your preferred social media platform?
Instagram is the only social media platform I use. I have a love/hate relationship with it because I try hard not to get caught up in mindless scrolling. On the positive side, I view it as an extension of my portfolio; it's a great way to share my work, and I enjoy creating 'behind the scenes' reels of my shoots. It also serves as a wonderful tool for connecting with others and finding inspiration from fellow artists. Check out my page at @jasmink2.
What’s your favourite TV show?
I don’t have just one favourite show, there’s so much great content out there! Here are my top three from the last year: Ripley, Baby Reindeer and Presumed Innocent. Over the years, I’ve loved True Detective (season 1), Mad Men, Big Little Lies, The Handmaid’s Tale, House of Cards, Scenes from a Marriage and Girls.
Oh, and I just started watching Disclaimer, directed by Alfonso Cuarón and shot by Emmanuel Lubezki. Only a few episodes have come out so far, but the cinematography is stunning! I love how they utilise practicals in the frame; I’ve even sent screenshots of some frames to my gaffer because I can’t help geeking out over them.
What’s your favourite podcast?
I’m really into longevity, health and wellness, so most of my podcasts focus on that. I love listening to Andrew Huberman, Gabby Reece and Darin Olien. I also enjoy The Weekly by The New York Times. Recently, I finished an incredible true crime podcast called To Die For, by Neil Strauss, which was fascinating!
What show/exhibition has most inspired you recently?
I know this isn't an exhibition, but I was recently invited to see Hans Zimmer perform at The Crypto in LA, and it blew me away. Listening to the film soundtracks performed live on stage without the visuals was incredible. It was all about the music and the performers. The concert concluded with Hans Zimmer playing Time, from Inception. The entire stadium fell silent, with only his piano notes filling the air; you could have heard a pin drop. It was a perfect ending. Rather than going out with a big bang, he chose this intimate moment, which felt incredibly beautiful and fitting. It was a sweet reminder that as artists we start with an idea that’s just ours, but it then becomes so much bigger, involving so many people, as we come together to create this idea that was born by a single person; and in Hans Zimmer’s case, born by him sitting at the piano playing the keys.
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If you could only listen to one music artist from now on, who would it be?
Hands down, The National is my favourite band. I fell in love with them years ago, and I genuinely enjoy every single song on their albums.
If there was one thing you could change about the advertising industry, what would it be?
The pitching/ treatment writing process; more time needs to be given, and directors and production companies should be paid for pitches. On average, I spend three-to-four days pitching on a project that is not guaranteed.
Which cinematographers have most influenced your career?
As a director/DP, I’ve been fortunate to collaborate with some incredible cinematographers. I’ve spent a considerable amount of time working in Asia, and one of the most influential DPs in my commercial career was John Alfirevich from Australia, with whom I did extensive work across the region. He recently passed away. John was not only a great mentor and friend but also incredibly passionate about his craft. He taught me the art of lighting hair and skin. He was one of those people who loved being on set, always arriving with a smile and willing to share his gifts.
On the feature side, I greatly admire Rodrigo Prieto. His films 21grams, 25th Hour, and Babel all made a lasting impression on me. I’ve always been inspired by his ability to combine natural light with dynamic compositions, creating rich textures. And a wonderful female DP; Autumn Durald Arkapaw. She shot Teen Spirit and Black Panther. I loved the work she did on Teen Spirit, the moody, atmospheric quality she crafted was stunning. She doesn't know it yet, but I want her to be the DP for my directorial feature debut, Human.
Tell us one thing about yourself that most people won’t know.
One thing that only a few people know about me is that I’m left-eyed. This means that when I look through the eyepiece on a camera, I use my left eye. When we used film cameras, my first ACs would quickly notice this and would adjust the eyepiece for me. Fun fact: Conrad Hall was also left-eyed, so I am following the tradition of a master.
