Personal details
- Professions: Cinematographer, Camera and Electrical Department, Producer
Jason Lehel might not be a household name, but the dude’s got some serious credits under his belt. Gaia (2009) is probably the one that gets talked about most in film circles—think eco-thriller with a heavy dose of existential dread, where the forest isn’t just a backdrop, it’s practically a character, breathing and shifting with its own weird agenda. The cinematography? Off the charts. You can almost smell the moss and dirt through the screen, which, honestly, is kinda impressive. Lehel’s touch is all over it—very atmospheric, very unsettling in that slow-burn sort of way. Then there’s Coyote Requiem (2014), which couldn’t be more different. It’s got this gritty, sunburnt vibe, following characters scraping by on the fringes of society. There’s a lot of raw emotion and rough edges, the kind of movie that doesn’t shy away from uncomfortable truths. Lehel’s eye for detail pops up again, making the mundane feel almost poetic, like he’s daring you to find beauty in the mess. And, oh man, Gorillas in the Mist: The Story of Dian Fossey (1988)—that’s the big one. Classic stuff. Sigourney Weaver crushing it as Fossey, and the whole thing just dripping with ‘80s adventure-meets-real-life-drama energy. Lehel was part of the crew making sure the world saw the Rwandan jungle in all its wild, tangled glory, and those close-ups of gorillas? Super intense. So, yeah, Lehel’s filmography is a wild ride—nature, grit, and a knack for making you feel like you’re right there in the thick of it.
Born into a family with creativity practically baked into their DNA, this guy’s got a camera in his bloodline. His mom, Julie Hamilton—she’s the one behind the lens, snapping shots and freezing moments. Then there’s his grandma, Jill Craigie, who left her own mark on film history. Not just a random trivia tidbit—this connection to two strong women in the arts says a lot about where he gets his flair. Honestly, with a heritage like that, it’s almost like he was destined to end up in the creative world himself. The influences at home probably went way beyond the usual family photo albums—think more deep conversations about art, cinema, and storytelling around the dinner table. You can just imagine the kind of inspiration (and maybe a little pressure) that comes with that sort of legacy. No surprise if his work ends up being a bit of a tribute to the generations before him.
Konidela Ram Charan