ARRI Rental detunes Cooke lenses for “22 Bahnen”

The literary adaption of Caroline Wahl's novel "22 Bahnen" tells the story of Tilda, who feels trapped in her small town while trying to find a way out to a freer life. Cinematographer Tim Kuhn spoke to ARRI Rental about the emotional tone of the movie and the equipment choices he made.
 
Why did you choose the ALEXA 35 for “22 Bahnen”? 

We went with a digitally pulled process to keep as much detail as possible in the shadows and to get a brighter, more “neg-style” image. Shooting outdoors in autumn meant constantly changing light, and we often worked during twilight. The high latitude of the camera—and using a high ISO (EI) setting—gave us enough flexibility to pull the image and shape it the way we wanted. We aimed for a bright image with strong midtone contrast to really bring out the complexity and nuance in skin tones—something that was important for the look of the film. The ALEXA 35 gave us the dynamic range and color depth to make that possible. 
 

What was the mood or emotional tone you wanted to achieve, and how did your technical decisions serve that intention? 

Director Mia Maariel Meyer and I talked extensively about the complexity of skin tones and how skin tells the story of the state of mind of a person even if the person is trying to hide their real intentions or feelings. So, we focused on finding the right lenses to show that complexity, even under harsh lighting conditions. We conducted numerous lens tests, with incredible support from ARRI Rental, who provided access to every lens they had available. 
Despite several days of testing, we still hadn’t found the right glass for the film. On the final day of testing, just one day before our first shoot, they introduced us to a newly customized set of Cooke S4s. The moment we saw the test images, we knew we’d finally found the right lens for our project. We pushed the detuning even further to achieve softer skin tones and a more three-dimensional image. Thanks to the dedicated ARRI Rental team and my 1st AC, Lars Leier, we were able to move forward with confidence. For the underwater scenes, we chose the ALEXA Mini LF paired with Signature Primes, which gave this “space” a distinct and special tone. 
 

What was your lighting philosophy for “22 Bahnen”? How did the flexibility of LED technology help? 

For “22 Bahnen” we wanted the light to always feel in motion—a visual reflection of the main character’s inner world being shaken and unstable. Nothing in her surroundings is still; the shifting light mirrors her emotional turbulence. For example, my gaffer Martin Niklas and I used ARRI SkyPanel X and Orbiter fixtures to emulate clouds passing in front of the sun, which underlined certain emotional states of Tilda. The abilities of these fixtures and the easy control via an iPad made these light setups easy and repeatable. In stark contrast, the underwater scenes are slower and more stable. Here, time seems suspended, offering a sense of calm and control that she doesn’t experience above the surface. 
 

The title “22 Bahnen” evokes motion—laps, progress, cycles. How did this thematic concept shape your visual decisions in terms of framing or lighting? 

Tilda is trapped in a life defined by duty—constantly rushing around to hold her family together. We wanted the audience to feel that same relentless pace, to be carried through the world with the same sense of urgency and pressure that defines her daily life. We opted for a mixture of handheld and Steadicam. There were a few intentional exceptions to this rhythm; most notably, the house of the lost friend. This space was designed to feel like a tomb: quiet, still, and emotionally weighty. Here, we used autonomous camera movements, detached from Tilda, to emphasize her emotional disconnection and the presence of absence. It was important that these moments break from the visual language of the rest of the film, providing contrast, stillness, and reflection.