Personal details
- Birth Location: Germany
- Professions: Cinematographer, Camera and Electrical Department
Martin Ruhe, hailing from Germany, has carved out a seriously impressive path as a cinematographer. If you’ve caught films like The Midnight Sky (2020), the miniseries Catch-22 (2019), or the moody, black-and-white Control (2007), you’ve seen his eye at work—even if you didn’t realize it. His style? Totally distinctive. There’s this knack for atmosphere, a way he toys with light and shadow that makes scenes feel both intimate and epic at the same time. Not every cinematographer can pull that off. Ruhe’s work on Control, that Ian Curtis biopic, basically set the bar for music films—bleak, haunting, absolutely gorgeous. Then you look at The Midnight Sky, which honestly is a totally different beast: sprawling sci-fi landscapes, post-apocalyptic vibes, and George Clooney with a beard. Ruhe handles the technical stuff, sure, but there’s this emotional weight to the visuals. Like, you’re not just seeing a frozen wasteland... you’re feeling the isolation. And then there’s Catch-22. The satirical WWII miniseries? Ruhe nails that retro vibe without making it look cheesy or overdone. He manages to bring out the absurdity and horror all at once—no small feat. He’s worked with some big names and directors too, which says a lot about his rep in the industry. Basically, if you see his name in the credits, you know you’re in for something that’s gonna stick with you. Dude’s got range, style, and a reputation for turning even the simplest shot into something striking.
Berlin, 2013—so, we’re smack dab in the middle of a city that’s buzzing with art, music, and a little bit of chaos. The story follows someone who’s drifting through life in Germany’s capital, getting tangled up with all sorts of wild characters. There’s parties that go until sunrise, sketchy bars, and a constant search for meaning in a place that never really slows down. It’s not all fun and games though—underneath all the energy, there’s loneliness, heartbreak, and the big question of what it even means to belong somewhere. People come and go, friendships get weird, romance pops up in the most random places, and the city itself feels like its own living, breathing character. You can almost hear the techno beat running through the whole thing. Berlin in 2013 wasn’t exactly calm, and neither is this story—expect messiness, bad decisions, and a lot of searching for something real.
I’m a German DP hanging out in Berlin, been around for a while—shot six films, a ridiculous number of commercials, and honestly, more music videos than I care to count. That’s how I got my start, actually, music videos, way back—like, 17 years ago. My first feature film? Let’s just say it wasn’t exactly a dream come true. Didn’t touch features again until Anton Corbijn hit me up for Control in 2007, and man, that was a whole different vibe. I really dig jumping between projects, mixing it up. Short gigs keep things fresh and, honestly, help me dodge the wrong long-term commitments. Plus, bouncing between countries and sets is killer training—new gear, new people, different ways of moving fast. Keeps me on my toes, you know? I’ll wait for the right film, no need to rush. The variety keeps me sane and sharp.
Konidela Ram Charan
Germany