In Stefano Usberghi’s music video for Genetik’s Sanctuary we’re introduced to an Alcoholics Anonymous group who are gathering in a dark, nondescript basement. Then, once everyone has arrived, the priest initiates the session but his methods of treatment are unique and unorthodox, to say the least. Usberghi’s video is a visual delight, with the writer/director embracing dark spaces and dingy lighting to infuse the atmosphere of his story with an almost unnerving edge before later exploring a much more frantic and dynamic approach when the priest’s methods are revealed. DN is proud to premiere Sanctuary online today and is joined by Usberghi for a conversation below where we discuss his background as an experienced working cinematographer, the diligent planning that goes into his shotlists, and the key shift in style he wanted to take when the music drops at an important moment in the video.
What was Genetik’s initial reaction after you pitched him your vision for the music video?
When I initially pitched the project to Genetik, he was immediately thrilled. From the treatment, he understood that the work had the potential to create something both fun and unconventional.
How much freedom did he offer you creatively?
I was lucky to have creative freedom during the writing process, which allowed me to explore and push the project in the direction I wanted. The concept for the video is pretty straightforward: a priest treats the addictions of a group of Alcoholics Anonymous members using an unorthodox but powerful method, techno music. When I write, my goal is always to create something unusual which I can translate easily to an effective visual language since I am a cinematographer at my core who has been working in the film and commercial industry for a long time.
There are so many great frames in the video that bring a wide-eyed, heightened sensibility to the narrative. Given your background as a cinematographer, do you have a set approach to forming shots?
I usually plan every shot meticulously, starting with a blueprint and progressing to very precise blocking. The video begins with static and wide camera perspectives, but as we approached the climax, when the music track takes off, I wanted to infuse the film with energy and dynamism. I achieved this through camera rotations, spins, and unconventional angles, which I believe made the final result quite engaging.
I usually plan every shot meticulously, starting with a blueprint and progressing to very precise blocking.
As the priest starts dancing, followed by the other therapy members, the use of a slow shutter combined with the Ronin2 as a remote head operated by Luca Gennari and Francesco Argenziano brought these spins to life. The movements became increasingly fluid and frenetic, accompanied by quick cuts expertly crafted by my Editor Margherita Freyrie, until the sound of a washing machine brings us back to the reality of our character’s home.
Most Popular
I really like that wide shot of everyone in the basement with shadow around them, only backed by a couple of lights. What went into creating the basement set and the general dark, dingy vibe that the song ends up subverting?
The video was entirely designed to be shot mostly in a single basement location. We started with a completely white room and, with the help of Set Designer Giovanni Vito Di Gioia, transformed it by painting the walls and bringing the space to life. This transformation according to my great Costume Designer Caterina Micheli played a crucial role in setting the tone and atmosphere of the video.
Who else, amongst your collaborators, helped influence and shape the video?
Working with a familiar and talented team made the process so smooth and enjoyable. Yonv Joseph, the actor who played the priest, embodied the character with iconic wisdom and a touch of warmth, making the role memorable. I’ve co-signed the cinematography with Francesco Scazzosi this time who has been a good supportive partner for the project. Overall, the collaboration and shared vision among the team members were key to the success of the project. It was a pleasure to see our collective efforts, always supported by C41, result in a unique and captivating piece.
For a large part of its runtime, Sanctuary has no music and operates as a short film/music video hybrid.
It was always my intention to create a story-driven piece. I wanted the narrative to be at the forefront, allowing the visuals and the story to engage the audience deeply. This hybrid approach allowed us to blend the storytelling techniques of short films with the dynamic visual style of music videos.
Directing has given me a broader perspective on storytelling and character development, which I now incorporate into my cinematography work.
As well as the camera movements the wide angle lens also gives everything a strange, absurdist look, what lenses did you use and why?
We used a combination of lenses, including wide angle lenses such as the 14 on an almost 24×36 sensor, to achieve the unique and surreal aesthetic. The wide lens was particularly useful for distorting the space and creating a sense of disorientation, which aligned with the absurdist themes of the video. It allowed us to exaggerate certain elements and play with perspective. This choice of lens helped to visually underscore the story’s unconventional and dreamlike qualities.
As we approached the climax, when the music track takes off, I wanted to infuse the film with energy and dynamism.
You mentioned the influence your cinematography experience has on your directing but does your directing have any influence over your approach when you go back to work solely as a cinematographer?
Absolutely. Directing has given me a broader perspective on storytelling and character development, which I now incorporate into my cinematography work. Understanding the director’s vision and the narrative’s emotional beats helps me frame shots more effectively and choose camera techniques that enhance the story.
Is there anything else you’re working on at the moment that you can tell us about?
Yes, I’m currently working on several projects. One is my first feature film as a director that delves into psychological drama, exploring deep and complex human emotions after a trauma.
