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Simpson), a hot-headed young Muslim who becomes politicised in the after- math of the 9/11 tragedy.
Before their affair is overtaken by momentous world events it is power- fully depicted, employing technique and imagination by Ryan and his col- leagues. Onememorableshothas Nazneen placing her hand on the frosted glass of her front door, unaware as Karim presses his against it on the other side.
“It’s nice,” Ryan adds, “because she has such an enclosed life that you could say she’s reaching out and he’s reaching in. It’s working a visual into what her life means to her at that time in the film. It’s organic, but it’s also a visual message.”
Quick to give credit to director Gavron and to the actors themselves for touches such as these, Ryan is evi- dently an enthusiastic team player.
Coincidentally, his CV features several movies directed by women – Bille Eltringham’s This Is Not A Love Song, Andrea Arnold’s Red Road, Penny Woolcock’s Mischief Night – but the films he has worked on may have been selected as much for the travel oppor- tunities they offer as anything else.
“I did another film before Brick Lane called Carmo,” he adds. “That was shot on Fujifilm too, Super F-64D, Eterna 250D and Reala 500D, all 16mm. It’s about a guy smuggling things across the Bolivian border with Brazil; he’s a paraplegic and it’s a road movie with a love story twist. Great fun.”
If two words can sum up Ryan’s effervescent approach to his craft, those last are as good as any. ■ ANWAR BRETT
Brick Lane, currently on release in the UK, was originated on 35mm Fujicolor ETERNA 250D 8563 and ETERNA 500T 8573
Photo main: Tannishtha Chatterjee
as Nazneen with her two daughters and, Satish Kaushik as Chanu, her husband outside Buckingham Palace;
inset opposite page: Tannishtha Chatterjee; below l-r: Christopher Simpson as Karim; Chatterjee in the East End of London;
Brick Lane Director Sarah Gavron
and DP Robbie Ryan
LINE OF BEAUTY
Fujifilm Motion Picture • The Magazine • Exposure • 25