"We all have similar emotions but they find such different expression. The question then is: How do I make pain, happiness, shame, confusion, yearning…visible. Palpable. Without thought. Not through words but images."
"We all have similar emotions but they find such different expressions. The question then is: How do I make pain, happiness, shame, confusion, yearning…visible. Palpable. Without thought. Not through words but images."
Judith Kaufmann began her career as a Director of Photography in 1991 and has since worked on many award-winning feature films, mini-series, TV movies and documentaries.
While the films vary in style and genre, they share many qualities: a compassionate and sensitive approach to the characters, their dreams, hopes and inner turmoil; a loving and curious eye for detail and all things human; and an impeccable sense of light, color and composition. Judith’s cinematography is characterized by an ability to discover the uniqueness of a story while probing for the universality underneath.
Judith’s curiosity and openness have led her to work on a broad range of projects.
WHEN WE LEAVE by Feo Aladag (German Camera Award in 2010) tells the story of a young mother trying to escape a violent husband and the restraints of traditional society. The WW2 period drama 13 MINUTES by Oliver Hirschbiegel (nominated for the German Film Award in 2015) recounts the dramatic story of Georg Elser’s failed attempt to assassinate Hitler. And just recently she lensed ALL ABOUT ME by Academy Award winner Caroline Link, the real-life story of a boy who loses his mother and discovers both his gayness and his comedic talent (the most popular German film of 2018).
Stars like Sibel Kekilli (WHEN WE LEAVE), Liv Ullmann (TWO LIVES) and Bruno Ganz (THE END IS MY BEGINNING) have enjoyed working with her. Directors and producers appreciate Judith’s artistic approach, her thorough preparation, her efficiency on set, her resilience and flexibility. These qualities enable her to work on both large-scale productions like Oliver Hirschbiegel’s international mini-series THE SAME SKY and with limited equipment and a small team.
Often collaborations on a low-budget film like Petra Volpe’s DREAMLAND lead to a larger-scale production like Volpe’s subsequent THE DIVINE ORDER, which was a huge success in Switzerland and the country’s entry for the 2017 Academy Awards.
In 2012 Judith received the Honorary Award of the Deutsche Kamerapreis. She is a member of both the German Society of Cinematographers and of the Academy of Motion Picture Arts and Sciences. She lives in Berlin.
|German Film Award Nomination Best Cinematography 2019||NUR EINE FRAU
A REGULAR WOMAN
|German Film Award Nomination Best Cinematography 2019||DER JUNGE MUSS AN DIE FRISCHE LUFT
ALL ABOUT ME
|Austrian Film Award Best Cinematography 2019||DER JUNGE MUSS AN DIE FRISCHE LUFT
ALL ABOUT ME
|German Film Award Nomination Best Cinematography 2015||ELSER - ER HÄTTE DIE WELT VERÄNDERT
|Creative Energy Award 2015 Film Festival Emden||FREISTATT
|Evolution International Film Festival Best Cinematography 2014||ZWISCHEN WELTEN
|Günther Rohrbach Award Cinematography 2014||TRAUMLAND
|German Television Award Best Cinematography 2012||DAS ENDE EINER NACHT
THE END OF A NIGHT
|Honorary Camera Award 2012|
|German Camera Award 2010||DIE FREMDE
WHEN WE LEAVE
|German Critics Association Awards Best Cinematography 2010||DIE FREMDE
WHEN WE LEAVE
|German Film Award Nomination Best Cinematography 2007||VIER MINUTEN
|German Television Award Best Cinematography 2006||BELLA BLOCK
IMDB | IMDBPro
|Cameraimage Golden Frog Nomination||VIER MINUTEN
|Cinematography Award Marburg 2006|
|German Camera Award 2003||SCHERBENTANZ
|Bavarian Film Award Best Cinematography 2002||ELEFANTENHERZ