Dejan Dimeski is a Macedonian cinematographer with the most film engagements in Macedonia and the region, as well as on TV series in Russia. Dimeski, whose professional portfolio is consisted of about fifteen titles, is one of the most present cinematographers in the official program of “Manaki Brothers”. This year he is in the race for the prize with the Bosnian-Macedonian-Serbian-Croatian coproduction “The Frog” by Elmir Jukic, last year he competed with “The Liberation of Skopje” by Rade and Danilo Sherbedzija, in 2015 he was in the competition with “Lazar” by Svetozar Ristovski, and in 2013 with “Balkan is not Dead” by Aleksandar Popovski.
The intense and fierce post-war drama “The Frog” is specific by its filming conditions because almost the entire film is made in the space of a barber shop.
We have an interesting situation at this year’s festival program: you are a cinematographer in a namely Bosnian film, with a coproduction participation of a few Former Yugoslavia states, whereas a cinematographer of the Macedonian film “When the Day Had No Name” by Teona Strugar Mitevska is Agnes Godard from France. Can we now longer talk about national cinematography?!
National cinematography doesn’t exist anymore, there is only the product that comes out of a national state. In term of the work of the cinematographer, there is certainly no national cinematography, because in all the international projects we see our interests as cinematographers. When a cinematographer goes, sometime and somewhere, on a project out of the home country, he always sees the film with different eyes.
What is that look like? Does it bring any new quality in film?
I think that the look of a “foreigner-cinematographer” does bring new quality. Last year, when I went to Sarajevo at the preparations for the shooting of the film “The Frog”, the creative positions were already allocated to the producers of the film: Macedonian producer Tomi Salkovski got the camera and sound. In such project it is very important how much experience you have in yourself because trust needs to be built between the director and the creative team immediately. That part of the team needs to collaborate very closely.
You are filming TV series in Russia for about ten years now: should we also expect your name in the cinematographer spot of a feature film there?
I still don’t have a feature film in Russia because, unfortunately, I did a six-year-break from that market. Every break takes its toll, because it is followed by yet another proofing of yourself. But that constant proofing to stay in the game pleases me very much: the last film is always a measure for the success. There are some parameters for the Russian film market, probably similar to the others in the world, that say that if I now decide to work strictly on that market, two years later I will shoot a feature film as well.
Your next project?
“The Candle Girl” by Svetozar Ristovski is in announcement and a large TV series in Russia…