Vincent Mathias

Vincent Mathias, man—this guy’s got quite a filmography under his belt. You’ve probably seen his name pop up in credits and thought, “Wait, wasn’t he the cinematographer for that wild ride, Au revoir là-haut?” Yep, that’s him. That movie? Total visual feast. The way he captured those post-WWI Paris scenes, all that color and chaos and weirdly beautiful gloom—it just hits different. Not your standard war drama, more like a fever dream, and Mathias’ camera basically dances through it. Then you’ve got Qu’est-ce qu’on a fait au bon Dieu?—huge in France, if you’re into comedies that poke fun at family and culture. It’s all about this super uptight couple dealing with their daughters marrying men from different backgrounds. The jokes are rapid-fire, but it’s shot really clean and warm, like you’re eavesdropping on a real family meltdown over dinner. Mathias nailed the feeling, honestly. And don’t sleep on La proie. That one’s a gritty thriller where you’re kind of holding your breath the whole time. The cinematography’s less about pretty shots and more gritty realism—rain, sweat, shadows, panic. He nailed that edge-of-your-seat vibe, where you’re not sure who to trust or what’s coming next. Dude’s got range, what can I say? It’s wild how Mathias just slips into these different genres, like he’s changing coats. From big, sweeping period pieces to tense, nail-biter chases, he’s always pushing the mood, making you feel it. Not a flashy name for most people, but in the film world? He’s a heavy hitter.