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Hello everyone,
I’m glad to be sharing a few things about my my path with all of you.

My name is Frida Marzouk @frida_dop . I’m a French-Tunisian DP currently based in Paris, member of the AFC.

My university education was entirely theoretical in France. I graduated from a university in Paris, where I wrote a thesis on Christic figures in the films of Martin Scorsese, with a focus on framing and lighting. I was a huge fan and that what’s lead me to cinema studies.

Because it was theoretical I sought out practical experience on my own—starting with internships in editing at first, script supervising.. before eventually finding my path in cinematography. I worked as a focus puller on most of Abdellatif Kechiche movies and that’s where I realized I needed to learn more about lighting.

After graduating in Paris, I spent my masters year specializing in cinematography in New York which was much more hands on , after which I began working on set as an electrician.

Working on film sets in New York, surrounded by some of the most talented DPs and highly skilled crews, became my real education. Being part of those teams, especially within the electrical department, taught me the craft in a hands-on way that I deeply value.

I mostly worked in the US, the Arab world and Europe. One of my biggest dreams is to expand my work to Asia.

I’ll be sharing a few projects that are dear to me in the following days.

Hello everyone,
I’m glad to be sharing a few things about my my path with all of you.

My name is Frida Marzouk @frida_dop . I’m a French-Tunisian DP currently based in Paris, member of the AFC.

My university education was entirely theoretical in France. I graduated from a university in Paris, where I wrote a thesis on Christic figures in the films of Martin Scorsese, with a focus on framing and lighting. I was a huge fan and that what’s lead me to cinema studies.

Because it was theoretical I sought out practical experience on my own—starting with internships in editing at first, script supervising.. before eventually finding my path in cinematography. I worked as a focus puller on most of Abdellatif Kechiche movies and that’s where I realized I needed to learn more about lighting.

After graduating in Paris, I spent my masters year specializing in cinematography in New York which was much more hands on , after which I began working on set as an electrician.

Working on film sets in New York, surrounded by some of the most talented DPs and highly skilled crews, became my real education. Being part of those teams, especially within the electrical department, taught me the craft in a hands-on way that I deeply value.

I mostly worked in the US, the Arab world and Europe. One of my biggest dreams is to expand my work to Asia.

I’ll be sharing a few projects that are dear to me in the following days.

Hello everyone,
I’m glad to be sharing a few things about my my path with all of you.

My name is Frida Marzouk @frida_dop . I’m a French-Tunisian DP currently based in Paris, member of the AFC.

My university education was entirely theoretical in France. I graduated from a university in Paris, where I wrote a thesis on Christic figures in the films of Martin Scorsese, with a focus on framing and lighting. I was a huge fan and that what’s lead me to cinema studies.

Because it was theoretical I sought out practical experience on my own—starting with internships in editing at first, script supervising.. before eventually finding my path in cinematography. I worked as a focus puller on most of Abdellatif Kechiche movies and that’s where I realized I needed to learn more about lighting.

After graduating in Paris, I spent my masters year specializing in cinematography in New York which was much more hands on , after which I began working on set as an electrician.

Working on film sets in New York, surrounded by some of the most talented DPs and highly skilled crews, became my real education. Being part of those teams, especially within the electrical department, taught me the craft in a hands-on way that I deeply value.

I mostly worked in the US, the Arab world and Europe. One of my biggest dreams is to expand my work to Asia.

I’ll be sharing a few projects that are dear to me in the following days.

The Sentinel by @ali.cherri with @nahuel_perez_biscayart @ericcantona @sbete666 will have its world premiere @semaine_de_la_critique @festivaldecannes.

Always grateful for the team and especially the lighting, camera team & Color correction #VA
@daffy1224 @ziadimaxime @alexandre_otoole
Lou Gallay , Marine VANLERBERGHE, Yann-Alexis MAUS Tom BARBIER, Eric THIEBAUD @camille_dufrenoy
@made_with_amor @transperfectmedia

Shot on @arri @arrifrance @panavisionofficial

@lastdreamsproduction @manekifilms @remi.bonhomme @didardomehri @archibald_martin @maldoror04

@kinou.cinematographer.agency @afc_events_

The Sentinel by @ali.cherri with @nahuel_perez_biscayart @ericcantona @sbete666 will have its world premiere @semaine_de_la_critique @festivaldecannes.

Always grateful for the team and especially the lighting, camera team & Color correction #VA
@daffy1224 @ziadimaxime @alexandre_otoole
Lou Gallay , Marine VANLERBERGHE, Yann-Alexis MAUS Tom BARBIER, Eric THIEBAUD @camille_dufrenoy
@made_with_amor @transperfectmedia

Shot on @arri @arrifrance @panavisionofficial

@lastdreamsproduction @manekifilms @remi.bonhomme @didardomehri @archibald_martin @maldoror04

@kinou.cinematographer.agency @afc_events_

The Sentinel by @ali.cherri with @nahuel_perez_biscayart @ericcantona @sbete666 will have its world premiere @semaine_de_la_critique @festivaldecannes.

Always grateful for the team and especially the lighting, camera team & Color correction #VA
@daffy1224 @ziadimaxime @alexandre_otoole
Lou Gallay , Marine VANLERBERGHE, Yann-Alexis MAUS Tom BARBIER, Eric THIEBAUD @camille_dufrenoy
@made_with_amor @transperfectmedia

Shot on @arri @arrifrance @panavisionofficial

@lastdreamsproduction @manekifilms @remi.bonhomme @didardomehri @archibald_martin @maldoror04

@kinou.cinematographer.agency @afc_events_

"Cinematographer Frida Marzouk makes us feel like eavesdroppers with the way she shoots her subjects"
- @sightsoundmagazine

@erigesehiri 's sunkissed feature UNDER THE FIG TREES is available to stream in Germany on Cinelogue.

As part of our collaboration with @cinelogue to highlight the work of French-Tunisian DP, Frida Marzouk @frida_dop , we are excited to offer the film SCENES FROM HOME to stream free of charge. Directed by @cynsawma , and DP’ed by @frida_dop, the film centers on a group of Syrians seeking refuge in Jordan who join an interactive theater group to help heal from events of the past.

Stream SCENES FROM HOME now for free and explore other projects by @frida_dop via the link in our bio. And, take 20% off the monthly Cinelogue subscription price using discount code ICFC20.

Promised Sky at the Critics Awards 🎬

Promised Sky by Erige Sehiri is nominated for Best Actress for Deborah Christelle Naney and Best DOP for Frida Marzouk at the 10th Critics Awards for Arab Films. ✨

#MADFilms

The Arab critics award will take place on the 16th @festivaldecannes. Happy to share the best cinematography nomination with some of my dp friends. @chris.aoun_@kash.efx 🎥

https://deadline.com/2026/04/palestine-36-2026-nominations-critics-awards-arab-films-1236875567/

The Arab critics award will take place on the 16th @festivaldecannes. Happy to share the best cinematography nomination with some of my dp friends. @chris.aoun_@kash.efx 🎥

https://deadline.com/2026/04/palestine-36-2026-nominations-critics-awards-arab-films-1236875567/

Originally titled Tunis–Djerba, two opposite ends of Tunisia, Where the Wind Comes From by director @amelguellaty follows two friends, Alyssa and Mehdi, on a road trip as they try to change their lives. It’s a deeply poetic film with an outstanding soundtrack.

This project was particularly challenging because so much of it involved actual road shooting, both inside and outside a car. We worked handheld inside the vehicle and used several rigs mounted outside the windows.

The film was shot in late spring 2023, and we experienced unusually inconsistent weather for Tunisia that time of year: alternating between bright sun and grey skies. Maintaining weather continuity became a real challenge. At the same time, the sunlight was often extremely harsh, which added another layer of difficulty. Still, somehow, as it often does, everything came together in the end.

We shot the film on a RED Helium with ARRI Ultra Prime lenses. We used a zoom lens for one specific shot that required a zoom-in effect while driving, operated remotely. Throughout the film, Alyssa experiences visions, and these moments were often introduced through a zoom-in or dolly-in movement onto her character.

While many of my recent projects relied heavily on handheld camerawork, this film leaned toward a more stable visual language — dollies and locked-off shots. The director had already envisioned much of this approach before we began shooting.

Thank you for following along this week and for letting me share part of my journey with you all 🙏🏽

If you’d like to explore more of my work, @cinelogue, a non-profit streaming service centering the cinema of the Global Majority, is currently streaming six films from different points in my career. The films in this program were curated by nat_hunt and are also a reflection for me personally on how my style has evolved across time and projects.You can watch these via the link in bio. 

@cinelogue is also offering a 20% discount off their monthly subscription price using code: ICFC20. I hope you’ll enjoy watching these films as much as I enjoyed working on them.

Originally titled Tunis–Djerba, two opposite ends of Tunisia, Where the Wind Comes From by director @amelguellaty follows two friends, Alyssa and Mehdi, on a road trip as they try to change their lives. It’s a deeply poetic film with an outstanding soundtrack.

This project was particularly challenging because so much of it involved actual road shooting, both inside and outside a car. We worked handheld inside the vehicle and used several rigs mounted outside the windows.

The film was shot in late spring 2023, and we experienced unusually inconsistent weather for Tunisia that time of year: alternating between bright sun and grey skies. Maintaining weather continuity became a real challenge. At the same time, the sunlight was often extremely harsh, which added another layer of difficulty. Still, somehow, as it often does, everything came together in the end.

We shot the film on a RED Helium with ARRI Ultra Prime lenses. We used a zoom lens for one specific shot that required a zoom-in effect while driving, operated remotely. Throughout the film, Alyssa experiences visions, and these moments were often introduced through a zoom-in or dolly-in movement onto her character.

While many of my recent projects relied heavily on handheld camerawork, this film leaned toward a more stable visual language — dollies and locked-off shots. The director had already envisioned much of this approach before we began shooting.

Thank you for following along this week and for letting me share part of my journey with you all 🙏🏽

If you’d like to explore more of my work, @cinelogue, a non-profit streaming service centering the cinema of the Global Majority, is currently streaming six films from different points in my career. The films in this program were curated by nat_hunt and are also a reflection for me personally on how my style has evolved across time and projects.You can watch these via the link in bio. 

@cinelogue is also offering a 20% discount off their monthly subscription price using code: ICFC20. I hope you’ll enjoy watching these films as much as I enjoyed working on them.

Originally titled Tunis–Djerba, two opposite ends of Tunisia, Where the Wind Comes From by director @amelguellaty follows two friends, Alyssa and Mehdi, on a road trip as they try to change their lives. It’s a deeply poetic film with an outstanding soundtrack.

This project was particularly challenging because so much of it involved actual road shooting, both inside and outside a car. We worked handheld inside the vehicle and used several rigs mounted outside the windows.

The film was shot in late spring 2023, and we experienced unusually inconsistent weather for Tunisia that time of year: alternating between bright sun and grey skies. Maintaining weather continuity became a real challenge. At the same time, the sunlight was often extremely harsh, which added another layer of difficulty. Still, somehow, as it often does, everything came together in the end.

We shot the film on a RED Helium with ARRI Ultra Prime lenses. We used a zoom lens for one specific shot that required a zoom-in effect while driving, operated remotely. Throughout the film, Alyssa experiences visions, and these moments were often introduced through a zoom-in or dolly-in movement onto her character.

While many of my recent projects relied heavily on handheld camerawork, this film leaned toward a more stable visual language — dollies and locked-off shots. The director had already envisioned much of this approach before we began shooting.

Thank you for following along this week and for letting me share part of my journey with you all 🙏🏽

If you’d like to explore more of my work, @cinelogue, a non-profit streaming service centering the cinema of the Global Majority, is currently streaming six films from different points in my career. The films in this program were curated by nat_hunt and are also a reflection for me personally on how my style has evolved across time and projects.You can watch these via the link in bio. 

@cinelogue is also offering a 20% discount off their monthly subscription price using code: ICFC20. I hope you’ll enjoy watching these films as much as I enjoyed working on them.

Originally titled Tunis–Djerba, two opposite ends of Tunisia, Where the Wind Comes From by director @amelguellaty follows two friends, Alyssa and Mehdi, on a road trip as they try to change their lives. It’s a deeply poetic film with an outstanding soundtrack.

This project was particularly challenging because so much of it involved actual road shooting, both inside and outside a car. We worked handheld inside the vehicle and used several rigs mounted outside the windows.

The film was shot in late spring 2023, and we experienced unusually inconsistent weather for Tunisia that time of year: alternating between bright sun and grey skies. Maintaining weather continuity became a real challenge. At the same time, the sunlight was often extremely harsh, which added another layer of difficulty. Still, somehow, as it often does, everything came together in the end.

We shot the film on a RED Helium with ARRI Ultra Prime lenses. We used a zoom lens for one specific shot that required a zoom-in effect while driving, operated remotely. Throughout the film, Alyssa experiences visions, and these moments were often introduced through a zoom-in or dolly-in movement onto her character.

While many of my recent projects relied heavily on handheld camerawork, this film leaned toward a more stable visual language — dollies and locked-off shots. The director had already envisioned much of this approach before we began shooting.

Thank you for following along this week and for letting me share part of my journey with you all 🙏🏽

If you’d like to explore more of my work, @cinelogue, a non-profit streaming service centering the cinema of the Global Majority, is currently streaming six films from different points in my career. The films in this program were curated by nat_hunt and are also a reflection for me personally on how my style has evolved across time and projects.You can watch these via the link in bio. 

@cinelogue is also offering a 20% discount off their monthly subscription price using code: ICFC20. I hope you’ll enjoy watching these films as much as I enjoyed working on them.

Originally titled Tunis–Djerba, two opposite ends of Tunisia, Where the Wind Comes From by director @amelguellaty follows two friends, Alyssa and Mehdi, on a road trip as they try to change their lives. It’s a deeply poetic film with an outstanding soundtrack.

This project was particularly challenging because so much of it involved actual road shooting, both inside and outside a car. We worked handheld inside the vehicle and used several rigs mounted outside the windows.

The film was shot in late spring 2023, and we experienced unusually inconsistent weather for Tunisia that time of year: alternating between bright sun and grey skies. Maintaining weather continuity became a real challenge. At the same time, the sunlight was often extremely harsh, which added another layer of difficulty. Still, somehow, as it often does, everything came together in the end.

We shot the film on a RED Helium with ARRI Ultra Prime lenses. We used a zoom lens for one specific shot that required a zoom-in effect while driving, operated remotely. Throughout the film, Alyssa experiences visions, and these moments were often introduced through a zoom-in or dolly-in movement onto her character.

While many of my recent projects relied heavily on handheld camerawork, this film leaned toward a more stable visual language — dollies and locked-off shots. The director had already envisioned much of this approach before we began shooting.

Thank you for following along this week and for letting me share part of my journey with you all 🙏🏽

If you’d like to explore more of my work, @cinelogue, a non-profit streaming service centering the cinema of the Global Majority, is currently streaming six films from different points in my career. The films in this program were curated by nat_hunt and are also a reflection for me personally on how my style has evolved across time and projects.You can watch these via the link in bio. 

@cinelogue is also offering a 20% discount off their monthly subscription price using code: ICFC20. I hope you’ll enjoy watching these films as much as I enjoyed working on them.

Originally titled Tunis–Djerba, two opposite ends of Tunisia, Where the Wind Comes From by director @amelguellaty follows two friends, Alyssa and Mehdi, on a road trip as they try to change their lives. It’s a deeply poetic film with an outstanding soundtrack.

This project was particularly challenging because so much of it involved actual road shooting, both inside and outside a car. We worked handheld inside the vehicle and used several rigs mounted outside the windows.

The film was shot in late spring 2023, and we experienced unusually inconsistent weather for Tunisia that time of year: alternating between bright sun and grey skies. Maintaining weather continuity became a real challenge. At the same time, the sunlight was often extremely harsh, which added another layer of difficulty. Still, somehow, as it often does, everything came together in the end.

We shot the film on a RED Helium with ARRI Ultra Prime lenses. We used a zoom lens for one specific shot that required a zoom-in effect while driving, operated remotely. Throughout the film, Alyssa experiences visions, and these moments were often introduced through a zoom-in or dolly-in movement onto her character.

While many of my recent projects relied heavily on handheld camerawork, this film leaned toward a more stable visual language — dollies and locked-off shots. The director had already envisioned much of this approach before we began shooting.

Thank you for following along this week and for letting me share part of my journey with you all 🙏🏽

If you’d like to explore more of my work, @cinelogue, a non-profit streaming service centering the cinema of the Global Majority, is currently streaming six films from different points in my career. The films in this program were curated by nat_hunt and are also a reflection for me personally on how my style has evolved across time and projects.You can watch these via the link in bio. 

@cinelogue is also offering a 20% discount off their monthly subscription price using code: ICFC20. I hope you’ll enjoy watching these films as much as I enjoyed working on them.

Today I would like to tell you about a short film from 2022. It’s called “She sings” and it was directed by a couple of directors Lily and Ahmed Ragheb@studioragheb

The project is experimental in nature, which is what drew me to it. It carries its own narration and explores the emotional split that comes with living between two countries. There’s a surreal, almost dreamlike quality running through it.
I do have a small cameo in it 👋🏽

We shot this short film across two countries: between Pittsburgh, USA and Cairo, Egypt.

In Pittsburgh, I worked with the ARRI Mini LF paired with ZEISS Supreme lenses (35mm and 65mm).
When we moved to Cairo, we had to adapt due to availability and switched to a different set of ARRI lenses. This shift worked in the film’s favor I believe , it reinforced the sense of two distinct worlds.

Our crew in Pittsburgh was very small, while in Cairo it expanded significantly. Filmmaking there operates at a different scale, with no shortage of manpower. Working abroad or in unfamiliar cities usually means collaborating with crews you don’t know. Sometimes it works seamlessly, sometimes it doesn’t, but in this case, it worked out well.

One unusual aspect of this project to me was the remote color grade. I was simultaneously shooting a documentary, so I collaborated remotely with the very talented Lebanese colorist @chrystel.elias
We worked from stills and discussed everything over the phone. It turned out better than expected. I wouldn’t necessarily approach a feature this way, but for a short film, it worked beautifully.

This was my first time shooting in Cairo. I returned two years later for the Sudanese film “Cotton Queen”by Suzannah Mirghani

Today I would like to tell you about a short film from 2022. It’s called “She sings” and it was directed by a couple of directors Lily and Ahmed Ragheb@studioragheb

The project is experimental in nature, which is what drew me to it. It carries its own narration and explores the emotional split that comes with living between two countries. There’s a surreal, almost dreamlike quality running through it.
I do have a small cameo in it 👋🏽

We shot this short film across two countries: between Pittsburgh, USA and Cairo, Egypt.

In Pittsburgh, I worked with the ARRI Mini LF paired with ZEISS Supreme lenses (35mm and 65mm).
When we moved to Cairo, we had to adapt due to availability and switched to a different set of ARRI lenses. This shift worked in the film’s favor I believe , it reinforced the sense of two distinct worlds.

Our crew in Pittsburgh was very small, while in Cairo it expanded significantly. Filmmaking there operates at a different scale, with no shortage of manpower. Working abroad or in unfamiliar cities usually means collaborating with crews you don’t know. Sometimes it works seamlessly, sometimes it doesn’t, but in this case, it worked out well.

One unusual aspect of this project to me was the remote color grade. I was simultaneously shooting a documentary, so I collaborated remotely with the very talented Lebanese colorist @chrystel.elias
We worked from stills and discussed everything over the phone. It turned out better than expected. I wouldn’t necessarily approach a feature this way, but for a short film, it worked beautifully.

This was my first time shooting in Cairo. I returned two years later for the Sudanese film “Cotton Queen”by Suzannah Mirghani

Today I would like to tell you about a short film from 2022. It’s called “She sings” and it was directed by a couple of directors Lily and Ahmed Ragheb@studioragheb

The project is experimental in nature, which is what drew me to it. It carries its own narration and explores the emotional split that comes with living between two countries. There’s a surreal, almost dreamlike quality running through it.
I do have a small cameo in it 👋🏽

We shot this short film across two countries: between Pittsburgh, USA and Cairo, Egypt.

In Pittsburgh, I worked with the ARRI Mini LF paired with ZEISS Supreme lenses (35mm and 65mm).
When we moved to Cairo, we had to adapt due to availability and switched to a different set of ARRI lenses. This shift worked in the film’s favor I believe , it reinforced the sense of two distinct worlds.

Our crew in Pittsburgh was very small, while in Cairo it expanded significantly. Filmmaking there operates at a different scale, with no shortage of manpower. Working abroad or in unfamiliar cities usually means collaborating with crews you don’t know. Sometimes it works seamlessly, sometimes it doesn’t, but in this case, it worked out well.

One unusual aspect of this project to me was the remote color grade. I was simultaneously shooting a documentary, so I collaborated remotely with the very talented Lebanese colorist @chrystel.elias
We worked from stills and discussed everything over the phone. It turned out better than expected. I wouldn’t necessarily approach a feature this way, but for a short film, it worked beautifully.

This was my first time shooting in Cairo. I returned two years later for the Sudanese film “Cotton Queen”by Suzannah Mirghani

Today I would like to tell you about a short film from 2022. It’s called “She sings” and it was directed by a couple of directors Lily and Ahmed Ragheb@studioragheb

The project is experimental in nature, which is what drew me to it. It carries its own narration and explores the emotional split that comes with living between two countries. There’s a surreal, almost dreamlike quality running through it.
I do have a small cameo in it 👋🏽

We shot this short film across two countries: between Pittsburgh, USA and Cairo, Egypt.

In Pittsburgh, I worked with the ARRI Mini LF paired with ZEISS Supreme lenses (35mm and 65mm).
When we moved to Cairo, we had to adapt due to availability and switched to a different set of ARRI lenses. This shift worked in the film’s favor I believe , it reinforced the sense of two distinct worlds.

Our crew in Pittsburgh was very small, while in Cairo it expanded significantly. Filmmaking there operates at a different scale, with no shortage of manpower. Working abroad or in unfamiliar cities usually means collaborating with crews you don’t know. Sometimes it works seamlessly, sometimes it doesn’t, but in this case, it worked out well.

One unusual aspect of this project to me was the remote color grade. I was simultaneously shooting a documentary, so I collaborated remotely with the very talented Lebanese colorist @chrystel.elias
We worked from stills and discussed everything over the phone. It turned out better than expected. I wouldn’t necessarily approach a feature this way, but for a short film, it worked beautifully.

This was my first time shooting in Cairo. I returned two years later for the Sudanese film “Cotton Queen”by Suzannah Mirghani

Today I would like to tell you about a short film from 2022. It’s called “She sings” and it was directed by a couple of directors Lily and Ahmed Ragheb@studioragheb

The project is experimental in nature, which is what drew me to it. It carries its own narration and explores the emotional split that comes with living between two countries. There’s a surreal, almost dreamlike quality running through it.
I do have a small cameo in it 👋🏽

We shot this short film across two countries: between Pittsburgh, USA and Cairo, Egypt.

In Pittsburgh, I worked with the ARRI Mini LF paired with ZEISS Supreme lenses (35mm and 65mm).
When we moved to Cairo, we had to adapt due to availability and switched to a different set of ARRI lenses. This shift worked in the film’s favor I believe , it reinforced the sense of two distinct worlds.

Our crew in Pittsburgh was very small, while in Cairo it expanded significantly. Filmmaking there operates at a different scale, with no shortage of manpower. Working abroad or in unfamiliar cities usually means collaborating with crews you don’t know. Sometimes it works seamlessly, sometimes it doesn’t, but in this case, it worked out well.

One unusual aspect of this project to me was the remote color grade. I was simultaneously shooting a documentary, so I collaborated remotely with the very talented Lebanese colorist @chrystel.elias
We worked from stills and discussed everything over the phone. It turned out better than expected. I wouldn’t necessarily approach a feature this way, but for a short film, it worked beautifully.

This was my first time shooting in Cairo. I returned two years later for the Sudanese film “Cotton Queen”by Suzannah Mirghani

Today I’d like to share Nomad Shadow, a film about Meriem, a Sahraoui woman returning home after being deported from Spain. It explores what “coming back” really means, and how it reshapes family dynamics in ways that are often unspoken.

We shot across Algeria, on the first feature by director @eimi_imanishi , a talented Japanese American filmmaker.

For me, it was a first experience shooting in Algeria. The biggest challenge was our main location: the family home. Low ceilings, very few windows, and a layout that limited natural light. We had a central living space connected to three small rooms and an open kitchen. A lot of the story unfolds there.

Because of that, we leaned heavily on practical lighting, especially wall fixtures at night, and used light spilling from adjacent rooms when shooting in the main space.

We also chose to work with long takes and minimal coverage. Time was tight, and we wanted the scenes to breathe. It wasn’t the easiest choice production-wise, but it shaped the rhythm of the film in a meaningful way.

Despite the constraints, the crew was incredible, and the experience was genuinely rewarding.

The film was selected at @tiff_net 2025 amongst other festivals.

On the technical side, I shot on the Arri Mini LF with Vantage 1.4 lenses that felt truly magical for this kind of work. Some projects benefit for the generosity of rental houses so a huge thanks to @vantagefilmfrance for their continuous support. 🙏🏽

Today I’d like to share Nomad Shadow, a film about Meriem, a Sahraoui woman returning home after being deported from Spain. It explores what “coming back” really means, and how it reshapes family dynamics in ways that are often unspoken.

We shot across Algeria, on the first feature by director @eimi_imanishi , a talented Japanese American filmmaker.

For me, it was a first experience shooting in Algeria. The biggest challenge was our main location: the family home. Low ceilings, very few windows, and a layout that limited natural light. We had a central living space connected to three small rooms and an open kitchen. A lot of the story unfolds there.

Because of that, we leaned heavily on practical lighting, especially wall fixtures at night, and used light spilling from adjacent rooms when shooting in the main space.

We also chose to work with long takes and minimal coverage. Time was tight, and we wanted the scenes to breathe. It wasn’t the easiest choice production-wise, but it shaped the rhythm of the film in a meaningful way.

Despite the constraints, the crew was incredible, and the experience was genuinely rewarding.

The film was selected at @tiff_net 2025 amongst other festivals.

On the technical side, I shot on the Arri Mini LF with Vantage 1.4 lenses that felt truly magical for this kind of work. Some projects benefit for the generosity of rental houses so a huge thanks to @vantagefilmfrance for their continuous support. 🙏🏽

Today I’d like to share Nomad Shadow, a film about Meriem, a Sahraoui woman returning home after being deported from Spain. It explores what “coming back” really means, and how it reshapes family dynamics in ways that are often unspoken.

We shot across Algeria, on the first feature by director @eimi_imanishi , a talented Japanese American filmmaker.

For me, it was a first experience shooting in Algeria. The biggest challenge was our main location: the family home. Low ceilings, very few windows, and a layout that limited natural light. We had a central living space connected to three small rooms and an open kitchen. A lot of the story unfolds there.

Because of that, we leaned heavily on practical lighting, especially wall fixtures at night, and used light spilling from adjacent rooms when shooting in the main space.

We also chose to work with long takes and minimal coverage. Time was tight, and we wanted the scenes to breathe. It wasn’t the easiest choice production-wise, but it shaped the rhythm of the film in a meaningful way.

Despite the constraints, the crew was incredible, and the experience was genuinely rewarding.

The film was selected at @tiff_net 2025 amongst other festivals.

On the technical side, I shot on the Arri Mini LF with Vantage 1.4 lenses that felt truly magical for this kind of work. Some projects benefit for the generosity of rental houses so a huge thanks to @vantagefilmfrance for their continuous support. 🙏🏽

Here I am (@frida_dop )for the first movie I want to share with you today:
Promised sky is a feature film about three Sub-Saharan women and a child in Tunis—my second collaboration with director @erigesehiri.

From early development, the director and I wanted a “blue” film to move away from the warm tonalities often associated with African-set narratives. This decision informed the wardrobe palette, production design and was carried through into the color correction. This was also my first time working extensively with darker skin tones.

My involvement began at script stage and extended into early casting. I met one of the actresses nearly a year in advance. Given the hybrid nature of the performances, non-professional actors, partial self-representation, and a strong improvisational component, this early collaboration was key.

We premiered as the opening film of Un Certain Regard at @festivaldecannes last year- 2025.

The camera package was built around the ARRI Alexa Mini LF paired with Panaspeed @panavisionofficial lenses. I leaned into the large-format sensor for its falloff and separation, while the Panaspeeds introduced a softness and a gentle roll-off in highlights.

Lighting was minimal : @ARRI 1.8K HMIs, Astera tubes, Amaran units for lightweight augmentation, and a @dmglighting Dash for rapid, close-range shaping, particularly useful in tight interiors and fast-moving setups.

Here I am (@frida_dop )for the first movie I want to share with you today:
Promised sky is a feature film about three Sub-Saharan women and a child in Tunis—my second collaboration with director @erigesehiri.

From early development, the director and I wanted a “blue” film to move away from the warm tonalities often associated with African-set narratives. This decision informed the wardrobe palette, production design and was carried through into the color correction. This was also my first time working extensively with darker skin tones.

My involvement began at script stage and extended into early casting. I met one of the actresses nearly a year in advance. Given the hybrid nature of the performances, non-professional actors, partial self-representation, and a strong improvisational component, this early collaboration was key.

We premiered as the opening film of Un Certain Regard at @festivaldecannes last year- 2025.

The camera package was built around the ARRI Alexa Mini LF paired with Panaspeed @panavisionofficial lenses. I leaned into the large-format sensor for its falloff and separation, while the Panaspeeds introduced a softness and a gentle roll-off in highlights.

Lighting was minimal : @ARRI 1.8K HMIs, Astera tubes, Amaran units for lightweight augmentation, and a @dmglighting Dash for rapid, close-range shaping, particularly useful in tight interiors and fast-moving setups.

Here I am (@frida_dop )for the first movie I want to share with you today:
Promised sky is a feature film about three Sub-Saharan women and a child in Tunis—my second collaboration with director @erigesehiri.

From early development, the director and I wanted a “blue” film to move away from the warm tonalities often associated with African-set narratives. This decision informed the wardrobe palette, production design and was carried through into the color correction. This was also my first time working extensively with darker skin tones.

My involvement began at script stage and extended into early casting. I met one of the actresses nearly a year in advance. Given the hybrid nature of the performances, non-professional actors, partial self-representation, and a strong improvisational component, this early collaboration was key.

We premiered as the opening film of Un Certain Regard at @festivaldecannes last year- 2025.

The camera package was built around the ARRI Alexa Mini LF paired with Panaspeed @panavisionofficial lenses. I leaned into the large-format sensor for its falloff and separation, while the Panaspeeds introduced a softness and a gentle roll-off in highlights.

Lighting was minimal : @ARRI 1.8K HMIs, Astera tubes, Amaran units for lightweight augmentation, and a @dmglighting Dash for rapid, close-range shaping, particularly useful in tight interiors and fast-moving setups.

Here I am (@frida_dop )for the first movie I want to share with you today:
Promised sky is a feature film about three Sub-Saharan women and a child in Tunis—my second collaboration with director @erigesehiri.

From early development, the director and I wanted a “blue” film to move away from the warm tonalities often associated with African-set narratives. This decision informed the wardrobe palette, production design and was carried through into the color correction. This was also my first time working extensively with darker skin tones.

My involvement began at script stage and extended into early casting. I met one of the actresses nearly a year in advance. Given the hybrid nature of the performances, non-professional actors, partial self-representation, and a strong improvisational component, this early collaboration was key.

We premiered as the opening film of Un Certain Regard at @festivaldecannes last year- 2025.

The camera package was built around the ARRI Alexa Mini LF paired with Panaspeed @panavisionofficial lenses. I leaned into the large-format sensor for its falloff and separation, while the Panaspeeds introduced a softness and a gentle roll-off in highlights.

Lighting was minimal : @ARRI 1.8K HMIs, Astera tubes, Amaran units for lightweight augmentation, and a @dmglighting Dash for rapid, close-range shaping, particularly useful in tight interiors and fast-moving setups.

Here I am (@frida_dop )for the first movie I want to share with you today:
Promised sky is a feature film about three Sub-Saharan women and a child in Tunis—my second collaboration with director @erigesehiri.

From early development, the director and I wanted a “blue” film to move away from the warm tonalities often associated with African-set narratives. This decision informed the wardrobe palette, production design and was carried through into the color correction. This was also my first time working extensively with darker skin tones.

My involvement began at script stage and extended into early casting. I met one of the actresses nearly a year in advance. Given the hybrid nature of the performances, non-professional actors, partial self-representation, and a strong improvisational component, this early collaboration was key.

We premiered as the opening film of Un Certain Regard at @festivaldecannes last year- 2025.

The camera package was built around the ARRI Alexa Mini LF paired with Panaspeed @panavisionofficial lenses. I leaned into the large-format sensor for its falloff and separation, while the Panaspeeds introduced a softness and a gentle roll-off in highlights.

Lighting was minimal : @ARRI 1.8K HMIs, Astera tubes, Amaran units for lightweight augmentation, and a @dmglighting Dash for rapid, close-range shaping, particularly useful in tight interiors and fast-moving setups.

LA SENTINELLE (The Sentinel) by Ali Cherri • THE DOP

Frida Marzouk is a Paris-based French-Tunisian director of photography. After graduating with a degree in cinema in Paris. She has collaborated on numerous films and series, among them BLACK SWAN, JOHN WICK, I AM LEGEND, THE IMMIGRANT, BIRDMAN, CAPERNAUM, and ONLY MURDERS IN THE BUILDING. Her recent projects include WHERE THE WINDS COME FROM (2025), which was selected for the Sundance Film Festival; PROMISED SKY (2025), which was presented in Un Certain Regard at the Festival de Cannes; and COTTON QUEEN (2025), which screened in the Settimana Internazionale della Critica at the Venice International Film Festival.

Frida Marzouk est une directrice de la photographie franco-tunisienne basée à Paris. Après avoir obtenu un diplôme en cinéma à Paris, elle a collaboré à de nombreux films et séries, parmi lesquels BLACK SWAN, JOHN WICK, I AM LEGEND, THE IMMIGRANT, BIRDMAN, CAPERNAUM et ONLY MURDERS IN THE BUILDING. Ses projets récents incluent WHERE THE WINDS COME FROM (2025), sélectionné au Sundance Film Festival ; PROMIS LE CIEL (2025), présenté dans la section Un Certain Regard au Festival de Cannes ; et COTTON QUEEN (2025), projeté à la Settimana Internazionale della Critica de la Mostra de Venise.

@ali.cherri
@remi.bonhomme @imanefaresgalerie @lefresnoy @manekifilms
@alminerech@fondationdesartistes @mercedes_viladerll @robertmatta16 @palaisdetokyo
@rendezvouspress
@semaine_de_la_critique

LA SENTINELLE (The Sentinel) by Ali Cherri • THE DOP

Frida Marzouk is a Paris-based French-Tunisian director of photography. After graduating with a degree in cinema in Paris. She has collaborated on numerous films and series, among them BLACK SWAN, JOHN WICK, I AM LEGEND, THE IMMIGRANT, BIRDMAN, CAPERNAUM, and ONLY MURDERS IN THE BUILDING. Her recent projects include WHERE THE WINDS COME FROM (2025), which was selected for the Sundance Film Festival; PROMISED SKY (2025), which was presented in Un Certain Regard at the Festival de Cannes; and COTTON QUEEN (2025), which screened in the Settimana Internazionale della Critica at the Venice International Film Festival.

Frida Marzouk est une directrice de la photographie franco-tunisienne basée à Paris. Après avoir obtenu un diplôme en cinéma à Paris, elle a collaboré à de nombreux films et séries, parmi lesquels BLACK SWAN, JOHN WICK, I AM LEGEND, THE IMMIGRANT, BIRDMAN, CAPERNAUM et ONLY MURDERS IN THE BUILDING. Ses projets récents incluent WHERE THE WINDS COME FROM (2025), sélectionné au Sundance Film Festival ; PROMIS LE CIEL (2025), présenté dans la section Un Certain Regard au Festival de Cannes ; et COTTON QUEEN (2025), projeté à la Settimana Internazionale della Critica de la Mostra de Venise.

@ali.cherri
@remi.bonhomme @imanefaresgalerie @lefresnoy @manekifilms
@alminerech@fondationdesartistes @mercedes_viladerll @robertmatta16 @palaisdetokyo
@rendezvouspress
@semaine_de_la_critique

As part of our latest program, cinematographer Frida Marzouk joined program curator Nataleah Hunter-Young to discuss Frida's career beginnings, her craft, and her unique approach to framing and finding the power in the personal.

Read the full interview on our newly launched dialogue page via the link in bio.

As part of our latest program, cinematographer Frida Marzouk joined program curator Nataleah Hunter-Young to discuss Frida's career beginnings, her craft, and her unique approach to framing and finding the power in the personal.

Read the full interview on our newly launched dialogue page via the link in bio.

As part of our latest program, cinematographer Frida Marzouk joined program curator Nataleah Hunter-Young to discuss Frida's career beginnings, her craft, and her unique approach to framing and finding the power in the personal.

Read the full interview on our newly launched dialogue page via the link in bio.

As part of our latest program, cinematographer Frida Marzouk joined program curator Nataleah Hunter-Young to discuss Frida's career beginnings, her craft, and her unique approach to framing and finding the power in the personal.

Read the full interview on our newly launched dialogue page via the link in bio.

As part of our latest program, cinematographer Frida Marzouk joined program curator Nataleah Hunter-Young to discuss Frida's career beginnings, her craft, and her unique approach to framing and finding the power in the personal.

Read the full interview on our newly launched dialogue page via the link in bio.

As part of our latest program, cinematographer Frida Marzouk joined program curator Nataleah Hunter-Young to discuss Frida's career beginnings, her craft, and her unique approach to framing and finding the power in the personal.

Read the full interview on our newly launched dialogue page via the link in bio.

As part of our latest program, cinematographer Frida Marzouk joined program curator Nataleah Hunter-Young to discuss Frida's career beginnings, her craft, and her unique approach to framing and finding the power in the personal.

Read the full interview on our newly launched dialogue page via the link in bio.

As part of our latest program, cinematographer Frida Marzouk joined program curator Nataleah Hunter-Young to discuss Frida's career beginnings, her craft, and her unique approach to framing and finding the power in the personal.

Read the full interview on our newly launched dialogue page via the link in bio.