Thomas Hardmeier

Thomas Hardmeier is a Swiss cinematographer known for his visually distinctive work in French and international cinema, marked by collaborations with prominent directors and award-winning contributions to narrative storytelling. ^{[1] [2]} Born in Küsnacht, Switzerland, on February 16, 1965, he began his career in his native country in the mid-1980s, initially as a camera assistant before transitioning to principal cinematographer on Swiss productions and short films. ^[1] He later relocated to Geneva and then France, where he has been based since the 1990s, building a reputation through long-term partnerships with directors such as Richard Berry, Jean-Pierre Jeunet, and Jalil Lespert. ^{[1] [3]} Hardmeier's notable credits include The Young and Prodigious T.S. Spivet (directed by Jean-Pierre Jeunet), for which he received the César Award for Best Cinematography in 2014, and Yves Saint Laurent (directed by Jalil Lespert), which earned him a César nomination. ^{[2] [3]} He also shot Out Stealing Horses (directed by Hans Petter Moland), which won the Silver Bear for Outstanding Artistic Contribution at the Berlin International Film Festival in 2019. ^[2] His work extends to other acclaimed features like La prochaine fois, je viserai le cœur, Big Bug, and the Netflix series Into the Night, showcasing his versatility across dramatic, biographical, and genre projects. ^{[1] [3]} As a member of the AFC (French Society of Cinematographers), Hardmeier is recognized for his methodical approach and technical expertise in anamorphic and digital cinematography. ^[3]

Early life

Youth and entry into filmmaking

Thomas Hardmeier was born on February 16, 1965, in Küsnacht, Switzerland. ^{[1] [2]} He spent his youth in the village of Küsnacht, located on the southern side of Lake Zürich in German-speaking Switzerland. ^[1] He holds both Swiss and French citizenship and is fluent in French, German, and English. ^[4] In the early 1990s, at around age 25, Hardmeier entered the film industry as a second assistant cameraman on the Swiss comedy Sammy and Niklaus (also known as Niklaus & Sammy), marking his first feature film credit in the camera department. ^{[1] [5]} He transitioned to working as a cinematographer starting in 1994. ^[2]

Career

Early work as assistant and debut as cinematographer

Thomas Hardmeier began his professional career in the film industry in the early 1990s, working as a second assistant cameraman. At around 25 years old, he served in this role on his first feature film, the Swiss comedy Sammy and Niklaus.^[1] In 1994, Hardmeier transitioned to the position of cinematographer, or director of photography, marking his debut in that capacity.^[4] From that point onward, he worked primarily in France and on international productions, with a focus on dramatic features and commercials.^[4] He speaks French, German, and English, facilitating his involvement in diverse European and cross-border projects during this formative period.^[4] This shift established the foundation for his subsequent career in French cinema and beyond, building early experience in narrative-driven work.^[4][1]

Establishment in French cinema (1990s–2000s)

Thomas Hardmeier established himself as a prominent cinematographer in French cinema during the 1990s and 2000s, following his debut as director of photography in 1994. ^[4] He primarily worked on French productions and international co-productions, focusing on dramas while gradually incorporating action-oriented projects, which helped build his reputation within the industry. ^[4] Representative credits from this period include Accomplices (Complices, 2009), a Swiss-French drama directed by Frédéric Mermoud, where Hardmeier served as director of photography. ^{[6] [7]} He also photographed the gangster-action film 22 Bullets (L'Immortel, 2010), directed by Richard Berry and starring Jean Reno, utilizing Panavision widescreen and color cinematography to support the film's intense narrative. ^{[8] [9]} Near the end of this era, Hardmeier lensed the drama A Butterfly Kiss (Un baiser papillon, 2011), directed by Karine Silla, further showcasing his work in French dramatic cinema. ^[10] These collaborations solidified his standing as a reliable director of photography in French and international feature films. ^[2]

Breakthrough and major recognition (2010s)

Hardmeier achieved his major breakthrough in the 2010s through high-profile collaborations in French cinema, particularly on ambitious and visually distinctive projects. His cinematography for the 3D feature The Young and Prodigious T.S. Spivet (2013), directed by Jean-Pierre Jeunet, represented a pivotal moment in his career, combining narrative whimsy with innovative stereoscopic techniques to bring the story's inventive spirit to life. ^[3] This work earned widespread acclaim and swept several prestigious honors in 2014, including the César Award for Best Cinematography (Meilleure photographie) at the 39th César Awards. ^[11] He also received the Lumière Award for Best Cinematography for the same film ^[12] and the Best 3D Feature Film Award at the Camerimage International Film Festival of the Art of Cinematography. ^[3] In 2014, Hardmeier further solidified his reputation with his lensing of the biographical drama Yves Saint Laurent, directed by Jalil Lespert, which depicted the designer's rise and earned him a nomination for Best Cinematography at the 2015 César Awards. ^[3] That same year, he photographed the psychological thriller Next Time I'll Aim for the Heart (La prochaine fois je viserai le cœur), directed by Cédric Anger, contributing to another critically noted French production during this peak period of recognition. ^[13] These successes collectively established Hardmeier as a leading cinematographer in French and international cinema. ^[13]

Recent projects (2020s)

In the 2020s, Thomas Hardmeier has sustained his prolific output in feature films and streaming platforms, with several high-profile credits for Netflix.^[2] He reunited with director Jean-Pierre Jeunet on the science-fiction comedy Bigbug (2022), marking their second collaboration after The Young and Prodigious T.S. Spivet.^[2] For Bigbug, Hardmeier served as director of photography, capturing the film entirely on a single elaborate set constructed at Transpacités studios in Bry-sur-Marne between September and December 2020.^[14] He employed ARRI ALEXA LF and ALEXA Mini LF cameras in large format, paired with ARRI Signature Primes lenses, to achieve deep depth of field at apertures like T5.6–T8 while meeting Netflix's 4K delivery requirements.^[15] Lighting relied heavily on integrated practical sources, including 93 ARRI SkyPanel S60 units mounted behind the ceiling, RGB LED strips, and additional ARRI equipment controlled remotely for precise color and contrast adjustments.^[15] This setup enabled fast changes and supported Jeunet's preference for warm tones and a vibrant palette contrasting typical sci-fi aesthetics.^[15] Hardmeier also contributed to other Netflix projects, including the series Into the Night (2020) and action films in 2022 such as The Takedown directed by Louis Leterrier and No Limit directed by David M. Rosenthal.^[2] In 2023, he worked as director of photography on Back to Alexandria (also known as Retour en Alexandrie).^[2] His recent output has additionally included commercial work for major brands such as Chanel.^[2]

Cinematographic style and techniques

Approach and equipment preferences

Thomas Hardmeier has demonstrated a preference for anamorphic lenses in many of his projects, valuing their capacity to produce evocative imagery through shallow depth of field that transcends literal representation and draws the audience emotionally closer to the subject. ^[3] He particularly appreciates how anamorphic optics allow for a greater conveyance of feeling, such as using selective focus on a musician's hands to evoke improving virtuosity rather than merely showing the action. ^[3] Hardmeier regards the choice of lenses as currently the most important element in his cinematographic process, influencing the overall look more than other factors. ^[3] He has employed the Leitz MiniHawks anamorphic lenses on films requiring low-light shooting and small locations, praising their ability to deliver sharp, straight lines in architectural environments without the curvature typical of traditional anamorphics in wide angles. ^[3] On the feature Au bout des doigts, he combined MiniHawks with Hawk V-Plus anamorphic zooms, achieving consistent out-of-focus rendering across both sets even in challenging conditions, and expressed intent to include MiniHawks routinely on future anamorphic shoots due to their versatility where conventional anamorphics prove complicated. ^[3] For other projects, Hardmeier adapts his equipment to suit the director's vision and narrative demands. On Bigbug, he selected the ARRI ALEXA LF and ALEXA Mini LF cameras alongside ARRI Signature Primes to capture large-format imagery that provided the wide-angle perspective and deep depth of field Jean-Pierre Jeunet favors, while avoiding distortion and maintaining sharpness. ^[16] Hardmeier shoots with ARRI ALEXA systems, citing their soft rendering, exceptional low-light performance, and wide exposure latitude as unmatched for preserving shadow detail. ^[16] He noted that the large-format sensor effectively widened short focal lengths to achieve the desired framing without compromise, describing the ALEXA LF as the ideal tool for that production. ^[16] The ARRI Signature Primes were chosen after testing for their sharpness and optimal minimum focus distance, supporting stop values of T5.6 to T8 for maximum depth while preserving focus on foreground elements. ^[16]

Awards and recognition

Major honors and nominations

Thomas Hardmeier has received recognition for his cinematography through several major awards and nominations, with a notable concentration of honors for his work on The Young and Prodigious T.S. Spivet (2013).^[17][12][18] In 2014, he won the César Award for Best Cinematography (Meilleure photo) at the 39th César Awards for The Young and Prodigious T.S. Spivet.^[17] The same year, Hardmeier received the Lumière Award for Best Cinematography (sponsored by the CST) at the Lumière Awards for his work on the film.^[12] He also won the Best 3D Feature Film award at Camerimage for The Young and Prodigious T.S. Spivet.^[18] Hardmeier earned a nomination for the César Award for Best Cinematography in 2015 for his cinematography on Yves Saint Laurent (2014).^[19] He has been a member of the Association française des cinématographes (AFC) since 2006.^[4]

Selected filmography

Notable credits as cinematographer

Thomas Hardmeier has served as cinematographer on a number of high-profile feature films, often collaborating with established French directors and contributing to both arthouse and mainstream projects. Among his notable earlier credits is 22 Bullets (2010), an action thriller directed by Richard Berry.^[2] He achieved significant recognition for his work on The Young and Prodigious T.S. Spivet (2013), directed by Jean-Pierre Jeunet, a visually inventive family adventure shot in 3D that earned him the César Award for Best Cinematography in 2014.^[1][2] The following year, his cinematography on the biographical drama Yves Saint Laurent (2014), directed by Jalil Lespert, received a César nomination for Best Cinematography.^[1][2] In recent years, Hardmeier has continued to work on prominent streaming and theatrical releases, including his second collaboration with Jean-Pierre Jeunet on the science-fiction comedy Bigbug (2022).^[2] He also served as cinematographer on the thriller No Limit (2022), directed by David M. Rosenthal, and the action film The Takedown (2022), directed by Louis Leterrier.^[2]