Cinematographer
Duarte Domingos' first love was not images, but music; and it was music that eventually led him to the profession of cinematographer. As in some love stories, Duarte's feelings for music were not reciprocated. Realising that he wasn't that good a singer and musician, he decided to join the Lisbon film school ETIC in 2008. He made this choice because, after a year of study, he discovered his interest in cinema thanks to films such as Seven and No Country For Old Men.
The young Duarte started ‘investigating’ to discover the codes and history of cinema. A true autodidact, he drew on a wide range of influences. It became increasingly clear to Duarte that filmmaking was a passion for which he needed to make a place in his life. So he launched his own production company to take on a variety of projects. Over the next few years, he honed his style, notably with a number of video clips. Between the effects of the crisis and the certainty that he wanted to invest his time and energy in the profession of cinematographer, he closed his production company.
By chance, he met director Paul Carneiro at a festival. It was love at first sight between the cinematographer and the director, and Paul Carneiro asked Duarte to do the lighting for his next project, Savanna And The Mountain.
The film proved to be a real challenge for Duarte. There were no professional actors in the film, as the director chose to use villagers for the sake of
authenticity. This stylised documentary was an enriching experience for Duarte, and the film was selected for the Directors' Fortnight at the Cannes 2024 Festival.
Throughout his young career, Duarte Domingos has demonstrated that his professionalism means he can adapt to any situation, whether it's amateur actors, a French team or tight budgets. He is also driven by his openness to the world and his desire to constantly question what he has learned. The most important thing for him is to make his images a language that everyone can understand.
