Nina Badoux: “I work better as a cinematographer because I allowed myself to be a director too”

In this series of interviews, in collaboration with VERS, I talk to the future film makers of Cineville about their work and their love for film. For this edition I ate ‘pepernoten’ with director/director of photography Nina Badoux in Amsterdam, and talk about Reed Morano, Roger Deakins and prejudices. 

Jelle Havermans

Nina Badoux was 15 years old when she first saw Christopher Nolan’s Memento. She had never seen the way Nolan constantly switches perspective and plays with his audience before – and she wanted to do exactly that. “There are all these plot twists and red herrings and I thought that was super interesting,” says Nina. “You have to be such an active audience.” For her birthday her parents gave her a mini Dv camera and she started to document the world around her. “I noticed that I look at the world in a certain way, and I wanted to document that and transfer it to other people.”

I think all female cinematographers recognize the feeling they need to prove themselves.

Nowadays Nina does exactly that. She works as a cinematographer, photographer and director, and shoots documentaries and feature films all over the world. “For me, there’s no difference between documentary or fiction. It always starts with a story that I want to tell, and then I see if it needs a documentary, feature of photography series,” she tells me. “When I work as a director of photography, I am the director’s tool. I put my talents to use so that the director can tell his or her story. But I also enjoy to make my own films, because I can use my own ideas.”

Jelle Havermans

This article was written for and published on You can read the entire interview (in Dutch) right herePictures by Jelle Havermans

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