Cinematographer Grégoire de Calignon: L'écologie des sentiments

Director Alexandre Steiger's debut feature L'écologie des sentiments follows Félix (Andranic Manet), a shy hotel receptionist whose orderly world is upended when Lola (Salome Rose Stein) checks in. Cinematographer Grégoire de Calignon, who shot Steiger's two previous short films, followed the project from its earliest writing stages and helped reunite much of the same crew for the feature. Working with Panavision Paris, de Calignon selected an equipment package that would allow him to isolate the characters within the tight confines of the hotel. In the following interview, he discusses the eclectic references that helped shaped the film's visual language and reflects on what continues to inspire him as a cinematographer.

Panavision: How did you come to be involved in this project?

Grégoire de Calignon: I’ve known the director, Alexandre Steiger, for several years. I was the cinematographer on his two short films, Pourquoi j’ai écrit la Bible and De longs discours dans vos cheveux. Those collaborations went really well, and I followed the writing and development of L’écologie des sentiments — which was his first feature — from the very early stages. I was determined to work on this film, but honestly, I would have followed him on any project. I know that working with him means the whole crew is in for a series of surprises — and a lot of laughs along the way!

Plus, several of us — the sound engineer, the assistant director, the script supervisor, and myself — have been by his side from the start. The idea of ​​reuniting that core team around him promised the freedom to take bold creative risks.

Cinematographer Grégoire de Calignon (left) and director Alexandre Steiger. Photo by Soizic Poënces.

How would you describe the movie’s visual style, and were there any references that helped shape your visual approach?

Alexandre is a protean sponge who has absorbed a vast array of references across various fields and especially across all genres of film. For the look [of L’écologie des sentiments], our references during preproduction ranged from [French painter] Nicolas Poussin to Ghostbusters!

However, our two primary sources of inspiration were the ‘two Andersons’: Paul Thomas and Wes. In fact, the film that came up most often in our discussions was undoubtedly Punch-Drunk Love, specifically for its 2.39:1 aspect ratio, its framing — a masterclass in isolating a character — and the way it alternates between static shots and camera movement. All of this informed our work, even though we had to contend with a very tight budget, forcing us to make limited, and therefore highly strategic, choices regarding the sets.

What brought you to Panavision for this project?

We were going to shoot many sequences in a hotel with small rooms and small bathrooms, meaning very limited space. To convey the characters' solitude and isolate them, I was determined to limit the depth of field. That’s where Panavision proved truly decisive: Alexis Petkovsek [sales director for feature films at Panavision Paris] readily agreed to our request to shoot with [Leitz] Summilux-C lenses.

What inspired your decision to become a cinematographer, and what inspires you today?

Right after high school, I discovered photography, doing everything myself, from shooting to printing in a darkroom. At the same time, I was watching movies without really knowing how they were made. My eye and my visual sensibility were sharpening, yet I still didn't fully grasp the exact role of a cinematographer.

I used to watch the names roll by in the credits, and then I saw Eric Gautier appear for the film Esther Kahn. I recognized the name, and I was struck by the incredible imagery: hard to describe yet possessing a power that was present throughout the film while remaining remarkably subtle, a truly impressive feat. I think I started watching movies differently after that. That’s the career I decided to pursue — studying at [Ecole nationale supérieure] Louis-Lumière — and it’s the work that still thrills me today.

Beyond the visuals, I love the filmmaking process itself: the special relationship with the director, the prep work, post production, the discussions, finding solutions, that sense of craftsmanship, and, above all, that moment when I step onto the set and feel like I belong there, like it’s my home.

Is there anything else you’d like to add about the shoot?

I’d happily make four films a year like this one — with Alexandre and that team around me!