Darius Khondji Discusses Filming ‘Marty Supreme’ And Reuniting With Josh Safdie

Darius Khondji has solidified his reputation as a master of visual storytelling with his work on the new film ‘Marty Supreme’. The project marks a significant reunion between the cinematographer and director Josh Safdie following their previous collaboration on ‘Uncut Gems’. Khondji described the production process as an intense and chaotic experience that demanded total creative surrender from everyone involved. He compared the energy on set to being on a boat rocking violently in the middle of a storm. This frenetic atmosphere was essential for capturing the high-speed and high-stakes world of professional table tennis in the 1950s.

The visual language of the movie leans heavily on the use of 35mm film to create a textured and organic look. Khondji explained that he wanted to avoid the polished and artificial aesthetic often seen in modern period pieces. He utilized extremely long vintage Panavision lenses to achieve an effect he likened to using a magnifier on the actors. This technique allowed the camera to isolate the characters and capture every subtle expression on their faces. The cinematographer felt that shooting on film provided a richness to the skin tones that digital formats simply cannot match.

Lighting the ping pong matches required a specific approach to elevate the sport into something cinematic and dramatic. Khondji drew major inspiration from the paintings of George Bellows to give the scenes a classical and painterly quality. He treated the table tennis tournaments with the same gravity and lighting usually reserved for heavy boxing matches. Overhead tungsten lights were used to sculpt the players and emphasize the physical toll of the competition. The camera angles remained low and grounded rather than using flashy or commercial techniques found in sports broadcasting.

Timothée Chalamet delivers a transformative performance that serves as the visual anchor for the entire film. Khondji noted that the actor possessed an electrical charisma that dictated how the camera moved around him in every scene. The cinematographer and director worked to keep the lens intimately close to Chalamet to convey his character’s obsessive drive. This proximity created a sense of claustrophobia that mirrors the internal pressure felt by the protagonist. The result is a character study that feels both historically grounded and aggressively modern.

The production design by Jack Fisk played a crucial role in transporting the cast and crew back to 1952 New York. Khondji praised the immersive sets for allowing the lighting team to shoot from any angle without breaking the illusion of the era. He mentioned that the collaboration between the art department and the camera crew was seamless throughout the difficult shoot. The film stands as a testament to the power of practical effects and authentic location work. Khondji views ‘Marty Supreme’ as a rediscovery of the pure joy of analog filmmaking.

Tell us what you think about the visual style of ‘Marty Supreme’ and Timothée Chalamet’s performance in the comments.