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Maxime Alexandre
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Maxime Alexandre, ASC, CCS (February 4, 1971 in Ronse, East Flanders, Belgium)[1][2][3] is a Belgian-Italian cinematographer, known for his collaborations with directors Alexandre Aja and David F. Sandberg.
Key Information
Early life
[edit]Born in Ronse, Belgium in 1971, Alexandre moved with his family to Rome when he was five. His stepfather, Inigo Lezzi (at the time assistant director for Marco Bellocchio, Gianni Amelio, and Nanni Moretti), guided him through discovering the Italian cinema greats. Alexandre soon worked as a young actor in several movies, including Une Page d'amour, directed by Elie Chouraqui, with Anouk Aimee and Bruno Cremer, and Nanni Moretti Bianca in 1984.
A few years later, he discovered a passion for photography on the set of a short movie directed by his stepfather. In the late 1980s, his family moved to Paris. He began his career in the camera department working on commercials, learning from great cinematographers like Darius Khondji, Jean-Yves Escoffier, Pierre Lhomme, Vilko Filac, and Italian cinematographers including Tonino Delli Colli, and Franco Di Giacomo. His earliest work as a director of photography was shooting the second commercial unit for Michel Gondry.
Career
[edit]Then, in 2001, he met Alexandre Aja and Grégory Levasseur when he shot the second unit for Aja's father, Alexandre Arcady, on Break of Dawn written by Aja and Levasseur. Two years later, the three of them collaborated on Aja’s directorial debut, High Tension. The movie was internationally recognized as the beginning of the new wave of horror in French cinema and was picked up for distribution by Lionsgate. He collaborated again with Aja on the remake of The Hills Have Eyes and Mirrors, during which he met Wes Craven, with whom he worked on Paris, je t'aime. The film screened in Un Certain Regard at the Cannes Film Festival. Marock, a movie directed by Laila Marrakchi in 2005, also went to Cannes.
In 2006, he was recognized by Variety as one of its Ten Cinematographers to Watch. Several other films have followed, including P2, directed by Franck Khalfoun, and The Crazies by Breck Eisner.
In 2008, he directed his first feature film, Holy Money. His second film as director, Christopher Roth, was selected for several festivals, including the Brussels International Fantastic Film Festival, the Rome Independent Film Festival; Brazil’s Cinefantasy, where it won Best Movie, Best Villain, Best Make Up, Best SFX, and Best Soundtrack; and won the Best Director at the Italian 2nd Fantasy Horror Awards.
In 2012, he worked on Maniac, directed by Franck Khaifoun and starring Elijah Wood, which premiered at the 2012 Cannes Film Festival.
He has been a member of the Italian Society of Cinematographers and American Society of Cinematographers since 2023.
Filmography
[edit]Film
Television
| Year | Title | Director | Notes |
|---|---|---|---|
| 2013 | Air Force One Is Down | Cilla Ware | Miniseries |
| 2016 | The Wilding | Ciarán Foy | TV movie |
| 2020 | The Haunting of Bly Manor | Mike Flanagan Ciarán Foy Liam Gavin E. L. Katz |
6 episodes |
| 2021 | The Girl in the Woods | Krysten Ritter Jacob Chase |
8 episodes |
| 2025 | The Pendragon Cycle | Jesse V. Johnson Jeremy Boreing |
3 episodes |
References
[edit]- ^ "Maxime Alexandre". Internet Encyclopaedia of Cinematographers. Retrieved 2013-06-08.
- ^ "Cinematographer Teases New Horror in Prequel". Brandon Katz, Observer. 9 August 2017.
- ^ Bhavani, Divya Kala (20 September 2018). "Inverting the lighting process". The Hindu. Divya Kala Bhavani, The Indu.
External links
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| National | |
| People | |
| Other | |
Maxime Alexandre
View on Grokipediafrom Grokipedia
Biography
Early life
Maxime Alexandre was born on February 4, 1971, in Ronse, Belgium.[8] At the age of five, he relocated with his family to Rome, Italy, accompanying his mother, sisters, and brother.[9][3] His stepfather, Inigo Lezzi, who worked as an assistant director on films by notable Italian filmmakers such as Marco Bellocchio, Gianni Amelio, and Nanni Moretti, played a pivotal role in sparking Alexandre's early fascination with cinema.[9] Lezzi introduced the young Alexandre to various Italian film sets, providing him with firsthand exposure to the entertainment industry during his childhood.[9] This immersion fostered an initial interest in filmmaking that would shape his future career.[3] Alexandre's Belgian birth and subsequent upbringing in Italy endowed him with a dual Belgian-Italian heritage, which enriched his formative years through exposure to diverse cultural influences across Europe.[10] This multicultural background contributed to a broad perspective during his early development in Rome. As he transitioned to formal education in Italy, these experiences laid the groundwork for his artistic inclinations.Education and influences
This family connection provided early access to cinema sets, allowing Alexandre to observe production processes firsthand and fostering his initial fascination with visual storytelling.[6] His exposure to these Italian cinema environments during adolescence highlighted the artistry of light, composition, and narrative through visuals, influencing his later approach to cinematography.[11] Largely self-taught, Alexandre developed his skills through practical experiences rather than formal academic training, beginning with visits to sets arranged by Lezzi.[3] A pivotal moment came when he discovered his passion for photography while assisting on a short film directed by his stepfather, leading to personal experiments with capturing images in Rome that sparked his interest in the mechanics of visual narrative.[11] This hands-on exploration, combined with the cultural shift from his childhood relocation to Italy at age five, laid the groundwork for his transition into professional film work.[3] In the late 1980s, Alexandre moved to Paris with his mother, where he initially pursued acting in films such as Une Page d'Amour and Bianca before transitioning to the camera department.[7] He apprenticed under established cinematographers like Darius Khondji and served as second-unit cinematographer on a commercial directed by Michel Gondry, further honing his self-directed learning in the craft.[3] These influences emphasized a blend of technical proficiency and creative intuition, drawn from real-world set dynamics rather than structured education.[12]Career
Early career
Maxime Alexandre's entry into the professional film industry occurred in the late 1980s following his family's relocation from Italy to Paris, where he joined the camera department on various commercial productions. There, he honed his skills under the mentorship of acclaimed cinematographers such as Darius Khondji and Tonino Delli Colli, gaining foundational experience in lighting and composition amid the competitive European market.[3] His initial foray into cinematography came in the early 2000s, starting with second-unit work on a commercial directed by Michel Gondry, which marked his first credited role behind the camera. This opportunity allowed him to build a modest portfolio through assistant and secondary shooting positions on European projects, including uncredited contributions to genre films during a period when he was establishing himself in France's burgeoning independent scene.[3] By 2001, Alexandre had transitioned to more hands-on cinematography duties, shooting second-unit footage for the low-budget French feature Break of Dawn (2002), directed by Alexandre Arcady—a project that tested his ability to deliver dynamic visuals on constrained resources in the tight-knit Parisian production environment. These early roles, often in resource-limited settings, underscored the challenges of navigating union regulations and limited budgets as a newcomer in Europe's saturated film industry, where breaking into director of photography positions required persistent networking and technical versatility.[3][13]Breakthrough collaborations
Alexandre's breakthrough came through his longstanding partnership with director Alexandre Aja, beginning with the 2003 French horror film High Tension, Aja's directorial debut.[3] In this collaboration, Alexandre's cinematography employed a desaturated, bluish palette with metallic tones to create a sense of detachment and impending dread, enhancing the film's relentless tension and graphic violence.[14] This visual approach not only amplified the psychological strain on characters but also marked Alexandre's emergence as a key figure in elevating horror aesthetics through stark, immersive imagery.[3] The duo's synergy continued with the 2006 remake of The Hills Have Eyes, where Alexandre's work in the Moroccan desert captured the harsh, unforgiving landscape to build an atmosphere of isolation and menace.[3] He utilized slightly saturated framing to evoke a grimy foreboding, contrasting the barren beauty of the terrain with visceral close-ups that intensified the horror of mutant attacks and survival struggles.[15] This technique, shot with piercing natural light, underscored the film's themes of primal terror in an exposed environment, solidifying Alexandre's reputation for genre-defining desert cinematography.[16] Their collaboration extended to other projects, notably Crawl (2019), a survival thriller set during a hurricane, where Alexandre tackled the challenges of underwater and confined-space shooting to heighten claustrophobia and peril.[17] For the flooded basement sequences, he prioritized deep depth of field to convey threats from both submerged alligators and surface dangers, filming in shallow soundstages under 5 feet high using ARRI Alexa cameras and Leica lenses amid water, steam, and wind effects.[17] High-contrast lighting, shaped by simulated exterior sources like lighting balloons and HydroFlex underwater systems, further amplified the tension in these restrictive environments, demonstrating Alexandre's innovative handling of practical effects in horror.[17] Shifting genres, Alexandre partnered with director David F. Sandberg on the 2019 DC superhero film Shazam!, bringing his expertise to vibrant, comic-inspired visuals and high-energy action.[18] He employed Master Prime lenses and ARRI LED lights for precise illumination, including a custom "THE SHAZAM" diffusion source to deliver soft, expansive lighting over 20–60 feet, which blended fantastical elements like the Rock of Eternity with grounded urban settings.[18] This setup enabled dynamic capture of superhero sequences, such as carnival chases and aerial battles, maintaining visual coherence and a sense of wonder through controlled contrasts and fluid camera movement.[18]Recent projects
In recent years, Maxime Alexandre has continued to showcase his expertise in genre filmmaking through a series of high-profile projects that blend suspense, horror, and atmospheric tension. His cinematography for the 2021 Netflix film Oxygen, directed by longtime collaborator Alexandre Aja, masterfully captures the claustrophobic dread of a woman trapped in a cryogenic pod with dwindling oxygen supplies. Working within the single-location constraint, Alexandre employed innovative lighting techniques to evoke suspense, using stark shadows and dynamic camera movements to heighten the psychological thriller's intimacy and urgency, making the confined space feel both oppressively real and visually immersive.[19][20] That same year, Alexandre served as director of photography on Resident Evil: Welcome to Raccoon City, the live-action adaptation of the iconic video game franchise directed by Johannes Roberts. His visual approach emphasized the eerie, fog-shrouded aesthetics of the source material, blending practical effects with a desaturated color palette to recreate the game's retro horror vibe amid fast-paced action sequences. Alexandre's framing and lighting contributed to a sense of isolated dread in the abandoned Midwestern town, enhancing the film's zombie outbreak narrative with nods to classic horror influences like Mario Bava.[21][22] Alexandre also brought his signature atmospheric style to television with The Haunting of Bly Manor, a 2020 Netflix miniseries created by Mike Flanagan, where he photographed the first five episodes. Drawing from Henry James's gothic romance, his work established the series' haunting mood through soft, diffused lighting and wide-angle shots that accentuated the sprawling English estate's melancholic isolation. Episode-specific visuals, such as lingering pans over candlelit interiors and misty exteriors, underscored the supernatural elements and emotional depth, setting a tone of elegiac horror that permeated the narrative.[23][24] Looking ahead as of 2025, Alexandre has expanded his portfolio with projects demonstrating his genre versatility, including the 2023 horror-thriller The Cello, directed by Darren Lynn Bousman and filmed on location in Saudi Arabia in both English and Arabic. This tale of a cursed instrument allowed Alexandre to explore cross-cultural visual storytelling, using intricate shadow play and orchestral motifs in the mise-en-scène to amplify the psychological terror. Similarly, in the 2024 action-comedy Role Play, helmed by Thomas Vincent and starring Kaley Cuoco, he shifted to vibrant, kinetic camerawork that balanced suburban normalcy with high-stakes espionage, employing fluid tracking shots and punchy color grading to underscore the film's blend of humor and thriller elements.[3][25][26] Continuing his collaborations, Alexandre reunited with Aja for the 2024 survival horror Never Let Go, starring Halle Berry as a mother protecting her twin sons from supernatural forest entities, where he crafted immersive woodland visuals using practical effects and dynamic lighting to heighten isolation and dread.[4] In 2025, he worked again with Sandberg on the horror adaptation Until Dawn, employing ARRI Alexa 65 cameras and DNA lenses to capture the game's atmospheric tension in a tale of stranded teens facing wendigo creatures, blending practical sets with visual effects for chilling night sequences.[4]Recognition and style
Awards and memberships
In 2006, Alexandre was recognized by Variety as one of its "10 Cinematographers to Watch" for his innovative work on genre films such as High Tension and The Hills Have Eyes.[3] In May 2023, he was elected as a member of the American Society of Cinematographers (ASC), an honor bestowed on distinguished professionals in the field.[3] Alexandre is a member of Collettivo Chiaroscuro (CCS), an Italian association of cinematographers established in 2024 to promote the profession and support independent cinema.[27] Among his other recognitions, he received a nomination for the Fright Meter Award for Best Cinematography in 2013 for his contributions to the horror film Maniac.[28]Cinematic techniques
Alexandre's preference for practical effects in horror films stems from their ability to deliver tangible realism and visceral impact, as seen in Crawl (2019), where real alligators and animatronic creatures were integrated with stunt performers to heighten the terror of underwater confrontations.[29][30] In Maniac (2012), he employed prosthetics, blood rigs, and practical setups for violent sequences like scalping, avoiding CGI to maintain authenticity in the killer's perspective.[31] Complementing this, his use of natural lighting enhances immersion by leveraging environmental sources; in Never Let Go (2024), wide framing positioned characters within brooding natural settings, using available forest light to evoke mystery and dread without artificial augmentation.[32] As a Leica-certified cinematographer, Alexandre frequently incorporates Leica lenses to achieve high-contrast, atmospheric imagery that amplifies tension in low-light horror environments.[33] In The Nun (2018), he inverted the traditional lighting process, beginning with total darkness and selectively illuminating key elements to create stark contrasts and gothic depth, choreographing shadows to underscore the entity's malevolent presence.[34] This approach, paired with Leica Summilux-C primes, produced ethereal highlights against deep blacks, evoking a nostalgic 1950s Romanian ambiance while building unease through light's antithesis.[17] Alexandre's innovative handling of confined spaces emphasizes immersion through strategic lens selection and spatial manipulation, particularly in Oxygen (2021) and Crawl. For Oxygen, shot almost entirely within a cryogenic pod, he varied angles and subtle camera movements to sustain visual dynamism in the claustrophobic enclosure, preventing monotony while mirroring the protagonist's disorientation.[35] In Crawl's flooded basement—built as a set under five feet high—he deployed Leica Summilux-C primes and Alura lightweight zooms to maximize depth of field, allowing distant threats like alligators to emerge clearly amid murky water, with high-contrast lighting piercing the low-ceilinged chaos for heightened peril.[17] His visual style has evolved from the raw, gritty aesthetics of early collaborations with Alexandre Aja, such as The Hills Have Eyes (2006), where visceral desert lensing captured stark, unflinching horror through harsh, unfiltered environments, to the vibrant, polished superhero palette of Shazam! (2019).[16] In Shazam!, employing Arri Alexa SXT and Mini cameras, he crafted luminous, dynamic cityscapes with fluid motion and saturated colors, shifting from horror's shadows to heroic spectacle while retaining precise framing for emotional beats.[36]Filmography
Feature films
Maxime Alexandre has served as cinematographer on numerous feature films, spanning genres primarily in horror, thriller, and action. His collaborations often emphasize atmospheric lighting and dynamic visuals suited to intense narratives. The following table lists his credited feature films in chronological order, including key production details for context.| Year | Title | Director | Genre | Notable Aspects |
|---|---|---|---|---|
| 2003 | High Tension | Alexandre Aja | Horror | Low-budget French horror ($2.4 million); marked his breakthrough in international genre cinema. |
| 2006 | The Hills Have Eyes | Alexandre Aja | Horror | Remake of Wes Craven's classic; shot in Moroccan desert for isolated, gritty aesthetic ($15 million budget). |
| 2007 | P2 | Franck Khalfoun | Horror/Thriller | Single-location thriller set in a parking garage; emphasized claustrophobic tension. |
| 2008 | Mirrors | Alexandre Aja | Horror/Thriller | Supernatural horror sequel; utilized reflective surfaces for visual distortion ($35 million budget). |
| 2010 | The Crazies | Breck Eisner | Horror | Remake of George A. Romero's film; rural outbreak story with practical effects ($20 million budget). |
| 2012 | Maniac | Franck Khalfoun | Horror | Found-footage style psychological thriller; low-budget ($500,000) starring Elijah Wood. |
| 2012 | Silent Hill: Revelation | M.J. Bassett | Horror | Video game adaptation sequel; fantasy elements with fog-shrouded visuals. |
| 2014 | The Voices | Marjane Satrapi | Dark Comedy/Horror | Satirical take on mental illness; colorful, whimsical cinematography contrasting dark themes. |
| 2014 | Earth to Echo | Dave Green | Sci-Fi/Adventure | Family-friendly found-footage; Nevada desert shoot evoking E.T. ($13 million budget). |
| 2016 | The Other Side of the Door | Johannes Roberts | Horror | Supernatural grief story set in India; cultural motifs in lighting and composition. |
| 2016 | The 9th Life of Louis Drax | Alexandre Aja | Thriller/Drama | Mystery involving a comatose child; dreamlike sequences ($18 million budget). |
| 2016 | Warrior's Gate | Matthias Hoene | Action/Fantasy | Martial arts adventure; dynamic fight choreography in Chinese settings. |
| 2017 | Annabelle: Creation | David F. Sandberg | Horror | Prequel in The Conjuring universe; vintage orphanage setting with shadow play ($15 million budget). |
| 2018 | The Nun | Corin Hardy | Horror | The Conjuring spin-off; Romanian monastery locations for gothic atmosphere ($22 million budget). |
| 2019 | Shazam! | David F. Sandberg | Superhero/Action | DC Comics film; vibrant, comic-book style visuals in urban Toronto ($100 million budget). |
| 2019 | Crawl | Alexandre Aja | Horror/Thriller | Alligator survival story during hurricane; underwater and flooded house shots ($12 million budget). |
| 2020 | Come Play | Jacob Chase | Horror | Based on viral short; suburban night scenes heightening isolation. |
| 2021 | Oxygen | Alexandre Aja | Sci-Fi/Thriller | Claustrophobic cryo-pod thriller; single-set with LED lighting for confinement. |
| 2021 | Resident Evil: Welcome to Raccoon City | Johannes Roberts | Action/Horror | Video game adaptation; zombie outbreak in wintery setting ($45 million budget). |
| 2023 | The Cello | Darren Lynn Bousman | Horror/Thriller | Psychological horror with musical elements; cello motifs in framing. [37] |
| 2024 | Role Play | Thomas Vincent | Action/Comedy | Assassin family comedy; high-energy action sequences in suburban milieu. |
| 2024 | Never Let Go | Alexandre Aja | Horror/Thriller | Isolation cabin thriller; forest and interior lighting for paranoia. |
| 2025 | Until Dawn | David F. Sandberg | Horror | Video game adaptation; interactive narrative influences branching visuals. [38] |
| 2025 | Frontier Crucible | Travis Mills | Western | Upcoming Western adventure. [39] |
| 2025 | Orphan 3 | William Brent Bell | Horror | Third installment in the Orphan horror series; filming as of November 2025. [40] |
| 2026 | Above and Below | Jesse V. Johnson | Horror/Thriller | Diving adventure turns nightmare; post-production as of November 2025. [6] |
Television and other works
Alexandre's television work demonstrates his versatility in episodic formats, often bringing the atmospheric tension and visual flair from his feature films to serialized storytelling. His contributions span horror-infused mini-series and family-oriented dramas, emphasizing immersive lighting and dynamic camera movement to enhance narrative intimacy in confined or supernatural settings.[6] In 2016, Alexandre served as cinematographer for the TV movie The Wilding, directed by Ciarán Foy, where he captured the supernatural elements of a family's unraveling in suburban North Carolina through subtle, shadowy compositions that heightened psychological unease.[41][42] His most prominent television project to date is the 2020 Netflix mini-series The Haunting of Bly Manor, for which he photographed six episodes, including the early installments that establish the gothic tone of the haunted estate. Directed by Mike Flanagan and others, the series draws on Henry James's The Turn of the Screw, and Alexandre's work features desaturated palettes and fluid tracking shots to evoke emotional depth and spectral ambiguity, aligning with his horror genre expertise.[43] In 2021, Alexandre lensed all eight episodes of the Peacock series The Girl in the Woods, created by Krysten Ritter and based on Crypt TV shorts, blending teen drama with mythological horror in a Pacific Northwest forest setting. His cinematography employs natural light filtration through dense foliage and handheld intimacy to underscore themes of isolation and folklore, showcasing his ability to adapt to outdoor, episodic pacing.[44][45] Looking ahead, Alexandre is set to contribute to the 2026 TV series The Pendragon Cycle: Rise of the Merlin, photographing three episodes under director Jesse V. Johnson, continuing his expansion into fantasy-epic television narratives.[46][45] While Alexandre's early career involved camera work on commercials in Paris during the late 1980s and 1990s, specific credits in that medium remain unlisted in major databases; no short films or documentaries are prominently credited to him as lead cinematographer.[47]References
- https://www.wikidata.org/wiki/Q15430273