The Principle
Claire Mathon AFC has emerged as one of the most important cinematographers in contemporary European cinema, an artist whose images possess a quality that critics and audiences instinctively describe as PAINTERLY — not because she imitates specific paintings (though she frequently references them), but because her approach to light, color, and composition shares the painter's fundamental concern: how does light reveal the truth of a surface? Her collaboration with Celine Sciamma on Portrait of a Lady on Fire (2019) is the defining work of this philosophy — a film where the act of LOOKING is both the subject and the method, where the cinematography itself enacts the focused, loving attention of the artist's gaze.
Mathon's career reached a remarkable peak in 2019 when she served as cinematographer on two films that premiered at Cannes: Portrait of a Lady on Fire (which won the Best Screenplay award and became a global cultural phenomenon) and Mati Diop's Atlantics (which won the Grand Prix). The visual worlds of these two films could hardly be more different — Sciamma's period-set, meticulously composed chamber piece versus Diop's contemporary Dakar-set supernatural drama — yet both reveal Mathon's core gift: the ability to make light feel like a form of attention, as though the quality of illumination itself expresses how deeply the camera CARES about what it sees.
Her subsequent work with Pablo Larrain on Spencer (2021) and Tran Anh Hung on The Taste of Things (2023) has expanded her range while maintaining her distinctive quality. Spencer brings a cool, autumnal English palette to Diana's psychological crisis, while The Taste of Things transforms the act of cooking into visual poetry through warm, burnished light and intimate proximity to food, fire, and faces. Across all her work, Mathon treats the camera as an instrument of empathy — her images do not observe from a distance but participate in the emotional life of the scene.
Light
Candlelight and the Act of Looking
Portrait of a Lady on Fire (2019, Celine Sciamma): The film's central conceit — a painter (Noemie Merlant) secretly observing her subject (Adele Haenel) in order to paint her portrait — demanded that the light itself express the quality of focused attention. Mathon lit the daytime sequences with the natural light of the Brittany coast: hard Atlantic sun, cold grey overcast, the specific blue-white quality of coastal light reflected off water and rock. These sequences have a clarity and coolness that places them in the observed, external world. But the evening and nighttime sequences — where the two women draw closer to each other — are lit almost exclusively by candlelight and hearth fire. Mathon used practical candles, supplemented by small hidden tungsten sources at extremely low levels, to create an amber warmth that transforms the interior spaces into intimate, protected worlds. The famous scene where Heloise stands before the fire, her dress hem catching flame, uses only the firelight itself as source — the fire illuminating from below, casting upward shadows that make Heloise's face appear to float above the flames. Mathon's exposure is calibrated to preserve the luminosity of the candlelight while allowing the surrounding darkness to remain genuinely dark, creating an image that feels like a Baroque painting not through imitation but through the shared logic of a single, warm, flickering source in a dark room.
Supernatural Light in Naturalistic Spaces
Atlantics (2019, Mati Diop): Mathon created a visual world that moves between the golden, dusty naturalism of Dakar — sun-bleached exteriors, warm practicals in modest interiors — and the cool, blue-green supernatural register of the ghost story that emerges. The possessed characters are lit with a subtle shift toward blue and green that the audience feels before consciously registering. Ocean sequences use the available twilight and the reflected light off water to create an ambient, directionless illumination that makes the boundary between sea and sky disappear. Mathon's approach to the supernatural is RESTRAINT: she does not create dramatically different lighting for the ghostly sequences but rather shifts the existing naturalistic light just enough to create unease.
The Light of Privilege Under Pressure
Spencer (2021, Pablo Larrain): Mathon lit the Sandringham Estate interiors with cool, diffused daylight through tall windows — the flat, grey English winter light that gives aristocratic interiors their particular quality of genteel coldness. Diana (Kristen Stewart) is often lit from the side by window light that leaves half her face in shadow, creating a portrait of a woman partially hidden even in the most public spaces. The dining room sequences use the warm overhead glow of chandeliers that creates pools of amber in an otherwise cool space — small islands of warmth that the royal family occupies while Diana hovers at the margins. The kitchen sequences below stairs shift to fluorescent institutional light that paradoxically feels warmer in emotional register because it represents escape from the formality above.
Color
Color as emotional temperature. Mathon's palettes are built on the principle that color temperature IS emotional temperature. Portrait of a Lady on Fire operates on a strict binary: cool blue exterior light (observation, distance, the social world) versus warm amber interior light (intimacy, desire, the private world). The green of Heloise's dress becomes the central color accent — a cool tone that belongs to the exterior world brought into the warm interior, embodying the tension between public identity and private desire. Spencer uses a muted English palette — olive greens, cool greys, the faded reds and golds of aristocratic decor — that feels like the color has been deliberately dampened, repressed, held under control just as Diana herself is. The Taste of Things reverses everything: the palette is warm, rich, burnished — coppers, ambers, the deep reds of wine and sauce, the golden brown of pastry. Food and faces glow with the same warmth, as though the act of cooking and the act of loving share the same visual language. Across all her work, Mathon preserves skin tones with particular care — faces are never sacrificed to the surrounding palette but maintain their warmth and humanity regardless of the color world.
Composition / Camera
The gaze as composition. Mathon's most distinctive compositional quality is the sense that the frame is organized by the act of looking — someone within the film is SEEING what we see, and the composition reflects their attention. In Portrait of a Lady on Fire, many shots are implicitly or explicitly from Marianne's perspective as she studies Heloise: the framing favors Heloise's face with the careful attention of a painter choosing what to include. Close-ups are held longer than convention allows, not for dramatic emphasis but because the person looking is not yet finished seeing. Mathon often places her camera at a slight distance from the subject, using longer focal lengths that compress space and create a sense of focused observation — not the intimacy of proximity but the intimacy of ATTENTION. In wider compositions, she uses natural frames — doorways, windows, the edges of rooms — to create the sense of looking INTO a private space. Camera movement is minimal in the Sciamma films, where stillness reflects the painter's fixed observation, and more fluid in Spencer, where Steadicam following-shots express Diana's restless, trapped movement through the estate's corridors.
Specifications
- Treat light as a form of attention. The quality of illumination should express how the
camera FEELS about what it sees. Warm, soft, careful light for subjects regarded with love. Cool, flat, institutional light for spaces of control and repression.
- Use candlelight and fire honestly. When working with flame sources, let the actual
flickering, warmth, and directionality of fire define the image. Supplement minimally. The imperfection of firelight — its movement, its shadows — IS the beauty.
- Compose as a painter composes. Organize the frame around the act of looking. The viewer
should sense that someone within the film is SEEING this — that the composition reflects a character's attention, not just the camera's position.
- Map color temperature to emotional state. Cool tones for distance, observation, public
space. Warm tones for intimacy, desire, private space. Let the shift between color temperatures articulate the emotional arc without dialogue.
- Hold the gaze. Resist the urge to cut away from a face. Allow close-ups to extend until
the audience begins to truly SEE the subject — not just recognize them but study them. Duration transforms observation into intimacy.