Ignacio Aguilar – Director de Fotografía

Soy Ignacio Aguilar y soy director de fotografía y autor de la web Harmonica Cinema.

Como director de fotografía he rodado las películas «La Pasajera» («THE PASSENGER», Raúl Cerezo & Fernando González Gómez, 2021) y «Viejos» («THE ELDERLY, Fernando González Gómez & Raúl Cerezo, 2022), entre otros muchos proyectos de ficción y anuncios publicitarios.

Siempre estoy dispuesto a rodar todo tipo de proyectos, especialmente de cine y de publicidad.

Visita mi web y no dudes en contactar: www.ignacioaguilardop.com

Algunos comentarios sobre mi trabajo en «LA PASAJERA«:

VARIETY:
A particularly resourceful contributing factor is Ignacio Aguilar’s widescreen cinematography, which calls upon a variety of techniques, from deep-focus shots to diagrammatic overhead ones that are attention-getting yet always purposeful. (Incredibly, this is his first feature as DP.) Indeed, “The Passenger” is well above average in all design and tech departments. They help it arrive at a colorful, atmospheric, slightly cartoonish tone that stops short of outright horror comedy, but is not entirely to be taken seriously either.

LA TIMES:
There are echoes of John Carpenter’s “The Thing” and “Big Trouble in Little China” in the Spanish horror-comedy “The Passenger,” a stylish first feature […] the filmmakers are incredibly resourceful. While they shot “The Passenger” mostly in and around one beat-up old camper in the middle of nowhere, their movie is nevertheless suspenseful and funny, with a few good jolts and gore effects to satisfy fright fans.»

MOVIE FREAK:
For a motion picture that is almost entirely self-contained inside a single, if admittedly mobile, location, The Passenger still features a deliciously disquieting visual aesthetic. Cinematographer Ignacio Aguilar and the entire production team have done an exceptional job crafting a look and feel that allows the world outside of the van to take on a life of its own. While not altogether flashy, there is still always something happening in the frame that catches the eye, and when the gruesome makeup effects begin to take center stage, Aguilar refuses to drown the screen in goo, maintaining a naturalistic lighting scheme that considerably augments the growing terror.

MODERN HORRORS:
The effects are appropriately gooey and lit in bright greens and deep blues to give that old school sci-fi effect while modern technology keeps the entities from looking cheap. Everything looks great. From the beautiful Spanish countryside to the tight shots inside the van, the camera work is impressive.

THE MN MOVIE MAN:
Even with a scaled budget, the filmmakers have made it look far better than movies made and released here with triple the money. I wouldn’t doubt this directing team gets nabbed by Blumhouse or another group to helm a project soon.

NIGHTMARISH CONJURINGS:
The bulk of the film takes place inside a cramped van, and cinematographer Ignacio Aguilar’s clever camerawork keeps THE PASSENGER visually engaging and focused on its characters’ inner lives. One of the strongest sequences tracks the two conversations going on in the van: Mariela and Lidia open up to each other about their personal struggles, and Blasco and Marta start to crack each other’s defensive exteriors. Rather than cutting back and forth between the characters, the camera focuses only on one person at a time, holding each person in a tightly framed shot for an extended period of time before gliding fluidly to take in the next character. 

HEAVEN OF HORROR:
The other co-director is Fernando González Gómez and the two are working on more projects already. Yet another debut is that of cinematographer Ignacio Aguilar. The Passenger is his feature film debut and there are many awesome shots in the movie. Perfect for this genre hybrid. Hopefully, we’ll be seeing more from many of these feature film newcomers soon.

VOICES FROM THE BALCONY:
This plays especially well in the locations most of The Passenger is shot in. A dark forest, a deserted gas station and the claustrophobic interior of the van itself. Cinematographer Ignacio Aguilar gets the most out of these settings and does an especially good job of making the gas station seem like a well-lighted oasis surrounded by threatening darkness. And the forest, always a favourite setting for genre films, looks equal parts beautiful and dangerous as the film’s characters try to escape through it.

SLAY AWAY:
Ignacio Aguilar’s cinematography helped to shape the film in frightening ways. His work made watching the movie a terrifying experience. It kept my attention, even during the vilest scenes. Several close-up shots were used during intense fighting scenes, making viewers feel like part of the action. The close-ups of the creature’s face and the transference of the alien from person to person have great detail. Shallow focus shots are also present. A bumper sticker reading “Alien on Board” in an ironic close-up provides comedic relief. Aguilar’s compelling imagery contributes to the frightening ambiance.

SCREEN ANARCHY:
Of course a lot of praise needs to be made for Cerezo and Gómez doing as much in camera effects as possible […] There is also evidence of skills with cameras and direction as well. There is an excellent oner at the end of the first act where the camera moves between Mariela and Lidia in the back and Blasco and Marta in the front. Left to right, back to front, then all over again. There are two different conversations happening at this moment but it all happens effortlessly and the directors should be acknowledged for this accomplishment.