Shabier Kirchner

Shabier Kirchner—man, where do you even start? This guy’s got his fingerprints all over some of the most interesting stuff coming out lately. If you caught Past Lives in 2023, you already know the kind of emotional depth he brings to the screen. That movie just hits you right in the gut, and a lot of it’s down to how Kirchner captures those quiet, heart-thumping moments between people who can’t quite say what they mean. He’s got this uncanny eye for natural light—makes a rainy street in Seoul look like something out of a dream. Then there’s Small Axe, Steve McQueen’s anthology from 2020. Kirchner handled the cinematography on a couple episodes, and honestly, his work there just pops. Every frame feels alive, textured, raw—like you’re actually living in 1970s London, smelling the smoke and hearing the music bleeding out of someone’s window. It’s the kind of stuff that doesn’t just look good; it feels real. That’s his signature, I guess. He makes you feel like you’re right there with the characters, not just watching from the outside. And Bull from 2019? Gritty as hell. Kirchner’s camera just lingers, lets you stew in those awkward silences—the kind that make your skin crawl and your heart race at the same time. He’s not about flashy tricks or over-the-top drama. Nah, he’s more about letting the story breathe, letting moments simmer. Bottom line? If you see Shabier Kirchner’s name on a project, you’re in for something that feels honest, alive, and a little bit dangerous.