Shooting ‘Hurry Up Tomorrow’ as an Aspect Ratio Shifting, 35mm Jungian Fever Dream
In “Hurry Up Tomorrow,” Abel Tesfaye (“The Idol”) confronts his darkest demons and sets fire to his popular musical alter ego, The Weeknd. The film, directed by Trey Edward Shults (“Waves”), functions as a Jungian fever dream in which we enter Tesfaye’s psyche during the onslaught of sleep paralysis. He does battle with his persona, his ego, and his animus (Jenna Ortega’s mysterious Ani) in order to put the past behind him and move on.
The film is brilliantly shot by cinematographer Chayse Irvin (“BlacKkKlansman”) in 35mm, principally using the Arricam Lt camera (containing both spherical and anamorphic lenses) and Kodak Vision3 500T 5219 film stock with shifting aspect ratios to reflect the stages of Tesfaye’s mental breakdown. Irvin predominantly utilized 1.85:1 but then expanded to 2.39:1 for the two arena concerts, and collapsed to 4:3 for his more intense and claustrophobic moments with Ani.
“It was quite a big exploration,...
The film is brilliantly shot by cinematographer Chayse Irvin (“BlacKkKlansman”) in 35mm, principally using the Arricam Lt camera (containing both spherical and anamorphic lenses) and Kodak Vision3 500T 5219 film stock with shifting aspect ratios to reflect the stages of Tesfaye’s mental breakdown. Irvin predominantly utilized 1.85:1 but then expanded to 2.39:1 for the two arena concerts, and collapsed to 4:3 for his more intense and claustrophobic moments with Ani.
“It was quite a big exploration,...
- 5/29/2025
- by Bill Desowitz
- Indiewire
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