The Principle
Sturla Brandth Grovlen FNF (Norwegian Society of Cinematographers) has established himself as one of the most technically daring and emotionally immediate cinematographers working in European cinema. His filmography is defined by a commitment to REAL TIME — the idea that cinema is most powerful when it refuses to cut, when the camera's unbroken attention creates a bond between audience and subject that editing would sever. Victoria (2015), shot as a genuine single take over 138 minutes through the nighttime streets of Berlin, is the defining achievement of this philosophy and one of the most remarkable technical accomplishments in the history of cinematography.
But Grovlen is not merely a technician of the long take. His collaboration with Thomas Vinterberg on Another Round (2020) — the Oscar winner for Best International Feature — demonstrated that his talent extends far beyond endurance filmmaking. Another Round is a classically constructed film with conventional coverage and editing, but Grovlen's Steadicam work gives it a fluidity and intimacy that makes the audience feel physically present in the rooms, the bars, the classrooms where four men drink their way toward crisis. The camera is always in motion, always close, always AMONG the characters rather than observing from outside.
His work on Utoya: July 22 (2018) — Erik Poppe's film about the 2011 terrorist attack on a Norwegian youth camp, also staged as a single continuous take — confirmed Grovlen's unique ability to sustain visual and emotional intensity across extended real-time sequences. The Scandinavian tradition of austerity, of stripping away artifice to reach emotional truth, runs through all his work. Grovlen does not add light to a scene; he finds the light that exists and uses the extraordinary sensitivity of modern digital sensors to capture it. His images are raw, textured with digital noise, sometimes almost uncomfortably intimate — and always, unmistakably, ALIVE.
Light
Available Light as Aesthetic Commitment
Victoria (2015, Sebastian Schipper): Because the film was shot in a single continuous take from roughly 4:30 AM through dawn, with the camera moving through nightclubs, apartments, streets, parking garages, a bank, and a rooftop, Grovlen had NO ABILITY to pre-light in the traditional sense. The light of Victoria is the light of Berlin at night: sodium-vapor streetlights, the fluorescent wash of a 24-hour convenience store, the red and blue neon of club signs, headlights of passing cars, the grey pre-dawn light that gradually bleeds into the sky. Grovlen shot on the Canon C300, chosen for its sensitivity at high ISO settings (he operated at ISO 3200 and above for most of the film), accepting digital noise as a textural element rather than a flaw. The remarkable thing about Victoria's lighting is that it CHANGES — as the characters move through different environments over real elapsed time, the light shifts organically. The warm chaos of the nightclub gives way to the cool blue of street exteriors, which gives way to the harsh fluorescent of the bank interior, which gives way to the soft, grey, heartbreaking dawn light of the final sequences. Grovlen could not control these transitions; he could only ride them, adjusting exposure in real time, finding the frame within whatever light presented itself.
Steadicam Intimacy in Natural Light
Another Round (2020, Thomas Vinterberg): Here Grovlen worked with more conventional production resources but maintained his commitment to natural and available light as the foundation. The Danish school where the four teachers work is lit with the flat, cool overhead fluorescents of institutional Scandinavia — a light that Grovlen accepts and even celebrates for its democratic flatness. The restaurant and bar scenes use warm tungsten practicals — the amber glow of pendant lights over wooden tables, the golden spill of a well-stocked bar. Grovlen's Steadicam follows the actors through these spaces with the ease of a slightly intoxicated companion, the camera's movement matching the looseness and increasing recklessness of the characters' experiment. The birthday party sequence — where the four men drink openly for the first time — is shot with a warmth and kineticism that makes the audience feel the PLEASURE of the alcohol before the consequences arrive.
Horror in Daylight
Utoya: July 22 (2018, Erik Poppe): The film takes place in bright Nordic summer daylight — an overcast but luminous Scandinavian afternoon. Grovlen had to create a sense of terror within the most benign possible lighting conditions: soft, even, shadowless daylight that suggests safety and normality. The single-take approach means the camera stays with the protagonist (Andrea Berntzen) as she runs, hides, and searches for her sister, and the light never changes from its impassive, democratic evenness. The horror is amplified by the light's refusal to acknowledge the violence — the same gentle overcast that illuminates a summer camp also illuminates a massacre. Grovlen's handheld work here is more urgent than in Victoria or Another Round: the camera runs with the character, stumbles, catches itself, pans wildly toward sounds of gunfire. The rawness of the camera movement combined with the calm of the light creates a dissonance that is profoundly disturbing.
Color
Digital naturalism, ungraded truth. Grovlen's color palette is defined by the absence of manipulation — or rather, by the minimal possible manipulation. Victoria's color is the color of Berlin at night: amber sodium vapor, blue-white LED, red neon, green fluorescent. These colors are not harmonized or corrected; they coexist in the frame with the chaotic authenticity of real urban light. Another Round uses a warmer, more consistent palette — the amber tones of Danish interiors, the cool grey of Danish exteriors — but the warmth comes from the actual light sources rather than from grading. Grovlen's preference for high-ISO digital capture means his images have a quality of slight desaturation in the shadows and warmth in the highlights that feels inherently digital — not the creamy tones of film, but the honest, slightly gritty rendering of a sensor working near its limits. This digital texture has become part of his signature: it reads as IMMEDIACY, as the look of something captured rather than constructed.
Composition / Camera
The body as compass. In Grovlen's single-take work, classical composition becomes impossible — the camera cannot be pre-set for the perfect frame because it must follow unpredictable human movement through real space. Instead, Grovlen composes AROUND the body of the lead actor: the frame is organized by the character's position, direction, and emotional state. When Victoria (Laia Costa) is happy, the camera gives her space, pulls back to include her environment. When she is trapped, the camera closes in, reducing the frame to her face and the immediate threat. This body-centric composition replaces the architectural composition of traditional cinematography with something more primal: the camera as companion, its spatial relationship to the character expressing the emotional relationship between audience and subject. In Another Round, the Steadicam work achieves a similar effect within more conventional coverage: the camera orbits the group of friends at a table, moves in to catch a whispered confession, pulls back for a toast. The movement is always motivated by the social dynamics of the scene — the camera goes where a slightly drunk friend would lean.
Specifications
- Accept the available light. Use the actual light of the location — streetlights, fluorescents,
practicals, daylight — as the primary illumination. Do not supplement unless the image is literally unprojectable. The authenticity of found light outweighs the perfection of designed light.
- Embrace high-ISO digital noise. Shoot at the sensitivity the scene requires, even if that
means ISO 3200 or above. Digital noise is texture, not failure. It reads as immediacy and presence.
- Move with the body. Let the camera's spatial relationship to the actor express the emotional
relationship between audience and character. Close for intimacy and threat, distant for freedom and context. The body is the compositional anchor, not the architecture.
- Sustain the shot. Resist the urge to cut. When a take extends beyond conventional length,
the audience shifts from watching a scene to INHABITING it. Real time creates real empathy.
- Let the light change. When moving through spaces, allow the color temperature, intensity,
and quality of light to shift naturally. These transitions — from warm to cool, bright to dark, artificial to natural — are part of the storytelling, not problems to be corrected.