Since 2013, as an official partner of the Cannes Film Festival, Angénieux has been paying a tribute to a prominent director of photography during the « Pierre Angénieux ExcelLens in Cinematography » ceremony. This event turns the spotlight on worldwide masters of light, directors of photography, without whom cinema would not exist.

安琴自 2013 年开始担任戛纳电影节的官方合作伙伴，并通过“Pierre Angénieux ExcelLens in Cinematography”典礼向杰出的摄影导演致敬。该盛会将全世界的目光聚焦在摄影大师身上，没有他们，电影就不会存在。

After Philippe Rousselot (AFC*, ASC*) in 2013, Vilmos Zsigmond (HSC*, ASC) in 2014, Roger A. Deakins (BSC*, ASC) in 2015, Peter Suschitzky (ASC) in 2016, Christopher Doyle (HKSC*) in 2017 and Edward Lachman (ASC), it is  Bruno Delbonnel’s turn to be honored in 2019, at the 72nd Cannes Film Festival, during an exceptional evening opened by Thierry Frémaux, presented by French journalist Pierre Zéni and in presence of some of his closest collaborators.

继 2013 年的 Philippe Rousselot（AFC *，ASC *）、2014 年的 Vilmos Zsigmond（HSC *，ASC）、2015 年的 Roger A. Deakins（BSC *，ASC）、2016 年的Peter Suschitzky（ASC）、2017 年的 Christopher Doyle（HKSC *） ）和 2018 年的 Edward Lachman（ASC）之后，Bruno Delbonnel 将于 2019 年在第 72 届戛纳电影节上获此殊荣。届时 Thierry Frémaux 将为晚会揭开帷幕，并邀请法国记者 Pierre Zéni 及其他参与者一同见证。

Bruno Delbonnel is a world-renowned French director of photography

Bruno Delbonnel 是世界著名的法国摄影师

Born in Nancy in 1957, Bruno Delbonnel first studied philosophy, then graduated from ESEC in the camera and light section, before filming his first and only film at the age of 20 : a short film, Rare Realities. On this film, Jean-Pierre Jeunet was his assistant and Henri Alekan, his DOP. Alongside the master of black and white photography, he discovered his passion for light was stronger than directing. He then began working as a camera assistant during fifteen years for commercials and some feature films, then as a DOP.

Bruno Delbonnel 1957 年出生于法国南希，他最初学习哲学，之后从 ESEC 的摄影与灯光专业毕业。20 岁时，他拍摄了自己的第一部也是唯一一部电影短片《罕见的现实》。在这部影片中，Jean-Pierre Jeunet 担任他的助手，摄影指导是 Henri Alekan。在与这位黑白摄影大师的合作中，他发现自己对光线的热情大于导演。在接下来的 15 年里，他作为摄影助理拍摄了众多商业广告和一些故事片，然后他成了一名摄影师。

Bruno Delbonnel @Mitya Ganopolsky (FAUST)

His career took on an international dimension in 2001, thanks to his collaboration with Jean-Pierre Jeunet

由于他与 Jean-Pierre Jeunet 的合作，他的职业生涯在 2001 年开始走向国际

Thanks to his work on Le Fabuleux Destin d’Amélie Poulain, he won the European Cinema Prize for the best director of photography and was nominated at the same time for the César, the BAFTA and the Oscar for best picture. Particularly noticed for his avant-garde work, he has a different approach to light and makes production designers his best allies on filming, so that sets are designed to be filmed at short focal length, shots framed at 27mm, his preferred focal length. Now Bruno Delbonnel continues his visual research at the service of the movies he enlightens and finds inspiration in music, architecture or abstract painting – challenging himself such as “trying to create a light between Mark Rothko and Shostakovich” – and developed collaborations with some of the greatest directors : Tim Burton (Dark Shadows, Big Eyes, Miss Peregrine's Home for Peculiar Children), the Coen brothers (Inside Llewyn Davis, The Ballad of Buster Scruggs ), Alexandre Sokourov (Faust, Francofonia), Joe Wright (Darkest hour) or David Yates (Harry Potter and the Half-Blood Prince) and of course his old mate, Jean-Pierre Jeunet (Un Long dimanche de fiançailles).

由于他在《Le Fabuleux Destin d’Amélie Poulain》中的出色表现，他获得了欧洲电影奖的最佳摄影导演奖，并同时获得 César、BAFTA 和奥斯卡的最佳影片提名。他的前卫作品尤其引人注目，他对光线有着不同的处理方式，按照 27mm的焦距进行拍摄，这是他喜欢的焦距。现在，Bruno Delbonnel 继续他的视觉研究，以提升拍摄技能，并在音乐、建筑或抽象绘画中寻找灵感——例如通过“试图创造一种风格介于 Mark Rothko 和 Shostakovich 之间的光线”挑战自我——并与某些最杰出的导演开展合作：Tim Burton (作品《黑影家族》、《大眼睛》和《佩小姐的奇幻城堡》)、Coen 兄弟 (作品《醉乡民谣》、《巴斯特·斯克鲁格斯的歌谣》 )、Alexandre Sokourov (作品《浮士德》、《占领下的卢浮宫》)、Joe Wright (作品《至暗时刻》) 或 David Yates (作品《哈利波特与混血王子》)，当然还有他的老朋友 Jean-Pierre Jeunet (《漫长的婚约》)。

His collaborations earned him five Oscar nominations for Best Picture (for Le Fabuleux Destin d’Amélie Poulain in 2002, Un long dimanche de fiançailles in 2005, Harry Potter and the Half-Blood Prince in 2010, Inside Llewyn Davis in 2014 and Darkest hour in 2018).

这些合作为他赢得了五项奥斯卡最佳影片奖提名：2002 年的《天使爱美丽》、2005 年的《unlong dimanche de ailles》、2010 年的《哈利波特与混血王子》、2014年的《醉乡民谣》和 2018 年的《至暗时刻》。

In parallel to the tribute paid to the already established career of a director of photography, Angénieux also wants to highlight the promising work of a young film professional. This is how, during this exceptional evening, the director of photography Modhura Palit based in Calcutta, India, will be given a special encouragement, offering her the opportunity to use the best of the Angénieux technology for the images of her next project.

除了向摄影师的职业生涯致敬外，安琴还想特别支持一位极富潜力的年轻电影人：在这个特殊的夜晚，印度加尔各答的摄影师 Modhura Palit 将荣获特别鼓励奖——可选用安琴镜头拍摄下一个项目。

Modhura Palit studied cinema at the Satyajit Ray Film and Television Institute, one of India’s leading film schools. Member of the Indian Women Cinematographers Collective (IWCC) as well as of the Eastern India Cinematographers Association (EICA), she is part of the Busan Asian Film Academy (AFA), and she took part in the Looking China Youth Film Project in 2015. Thanks to this project, she travelled across China and directed, lit, edited and produced the short documentary The Girl across the stream in 18 days. This film won the 2^nd Runner Up Prize. Since then, she has been working on short-films, video clips, corporate films and three feature films.

Modhura Palit 曾在印度顶尖的电影学院之一 Satyajit Ray Film and Television Institute 学习电影。她是印度女摄影师协会 (IWCC) 、东印度电影摄影师协会 (EICA) 以及釜山亚洲电影学院 (AFA) 的会员，并于 2015 年参加了“寻找中国青年电影项目”。通过这个项目，她走遍了中国，并在 18 天内导演、编辑和制作了记录短片“The Girl”。这部电影获得了银奖。从那时起，她一直致力于短片制作、视频剪辑、企业电影并完成了三部故事片。

Modhura Palit - Tous droits réservés

About Angénieux lenses in Bruno Delbonnel’s filmography

Bruno Delbonnel 电影中采用的安琴镜头

Among his equipment, Bruno Delbonnel has been using Angénieux lenses, particularly on the following films:

- The Woman in the Window by Joe Wright / Optimo 17-80 and 28-340

- The Ballad of Buster Scruggs by Joel and Ethan Coen / Optimo 24-290 

- Darkest Hours by Joe Wright / Optimo 17-80

- Miss Peregrine’s Home for Peculiar Children by Tim Burton / Optimo 17-80 and 24-290

- Big Eyes by Tim Burton / Optimo 17-80

- Inside Llewyn Davis by Joel and Ethan Coen / Optimo 17-80

- Dark Shadows by Tim Burton / Optimo 17-80

- Faust by Aleksandr Sokurov / Optimo 17-80 and 24-290

- Harry Potter and the Half-Blood Prince by David Yates / Optimo 17-80 and 24-290

Bruno Delbonnel 一直在使用安琴镜头，特别是在以下电影中：

- Joe Wright 执导的《窗里的女人》/ Optimo 17-80 和 28-340

-Joel 和 Ethan Coen执导的《巴斯特·斯克鲁格斯的歌谣》/ Optimo 24-290 

-Joe Wright 执导的《至暗时刻》 / Optimo 17-80

- Tim Burton 执导的《佩小姐的奇幻城堡》/ Optimo 17-80 和 24-290

- Tim Burton 执导的《大眼睛》 / Optimo 17-80

- Joel与 Ethan Coen执导的《醉乡民谣》/ Optimo 17-80

- Tim Burton执导的《黑影家族》/ Optimo 17-80

- Aleksandr Sokurov 执导的《浮士德》/ Optimo 17-80 和 24-290

- David Yates 执导的《哈利波特与混血王子》 / Optimo 17-80 和 24-290

“As header picture: Bruno Delbonnel and Tim Burton during Dark Shadows shooting ©Leah Gallo”

“标题图片：Bruno Delbonnel 与 Tim Burton在《至暗时刻》片场”