Today, Chesini has found himself at the top of his field in his native country of Brazil. As a cinematographer, he appreciates the true art of his craft, capturing every image of a film with a passion and talent many strive for. Last year, his work on the film Chocolate captivated audiences, winning awards and critical acclaim. This pattern follows Chesini with all of the projects he embarks on, including the films Life on a Leash, and the music video Oração.
“As a cinematographer, you need to translate writing material and ideas into visuals, while keeping budget limitations. The goal is to translate the vision of the director that faithfully reflects the story and his or her intentions. My profession requires artistic sensibilities, great collaboration skills, and mastering the constantly developing of technology that involves creating a picture,” said Chesini.
Once again, Chesini showed audiences around the world just what he is capable of with his work on the film Tereza. In the film, prison inmates have dubbed a rope “Tereza,” assembled with clothes and rags. Chico, a mysterious inmate, strives to change his life, regardless of the risks. In order to reach this objective, he must not only rely on his courage, but also, “Tereza.”
“Tereza is a story of how we belong in our world. It’s an existential and philosophical premise that I really want to explore as a cinematographer,” said Chesini.
The film was shot in Brazil, at the penitentiary of Ahu in Curitiba, where Chesini also shot his award-winning film A Fábrica. The director and executive producer of Tereza, Mauricio Baggio, had worked with Chesini previously and knew instantly he would be the best person for the job, as his work on A Fábrica received such acclaim. Chesini did not prove the director wrong.
Baggio had a huge vision. In one pivotal moment in the film, the prison needed to be entirely lit during the night. It was a large electrical task, one of the largest of Chesini’s career. They litover three floors with over 100 cells per floor. The look, although extremely difficult to achieve, was vital to the success of the film, and Chesini, along with his gaffer, pulled it off.
“Andre is an amazing human being. His sensibility and good temper always are welcome to the production. On the film Tereza, his inputs, ideas and solutions made the film look like the movie we wanted. I felt secure and confident having him as my cinematographer and collaborator,” said Baggio. “Andre's instinct towards the moment are of immeasurable skill, and that is what I look for in a cinematographer. The reality of production can be decided on an instant if the camera person is not able to follow the intentions of the actor. Andre was in a hyper focus when we were rolling and that helped me dive into the story. Beyond that, his skills of coordinating with production, production design and his departments are great to have.”
Chesini’s instincts behind the camera were once again the right ones. Tereza went on to not only be celebrated at over 20 of the world's most prestigious film festivals, but Chesini himself was recognized for his talents. His work on Tereza won Best Cinematography at the Festival de Cinema de Pinhais in Brazil and the Festival de Cinema de Caruaru 2015.
“When Tereza got the Best Cinematography awards I felt really proud. Getting an award is an amazing recognition, and urges for me to go deeper into my craft,” said Chesini. “The fact that the movie had such a world acceptance even though it was regional story is a delight. The movie got awards and nominations in Europe and South America leaving its mark.”
Chesini’s eye behind the camera was pivotal to the film. Typical Brazilian prisons have over 3000 inmates, and Chesini was working with a small cast. Using just hi camera, he had to convey the image that the prison was full using just ten extras. By doing this, he made the story believable, and enveloped audiences in the suspenseful story. He used the size of the location to his advantage, placing actors in specific places and playing with their light and movement, it creates the illusion of a full penitentiary.
“The movie is almost with no dialogue so the visuals were really important in order to tell the story, which I love. The existential crisis of our character allowed me to see the film through his perspective which was an interesting visual argument. At the end is a reflection of how we look to the other, and how we are judged. Our prejudice and expectations in our society that sometimes doesn’t proper value of its individuals,” said Chesini.
Chesini’s work in Tereza shows why cinematography is such a unique art form, and why he is a master artist. However, the awards and praise were not what drove Chesini throughout the process of making the film. For the cinematographer, it was a homecoming.
“Cinematography is an amazing endeavor, and doing this together with your friends is even better. I was back from where I began, having been away from Brazil for the three years before shooting this. Being able to work with old friends, hearing their stories, it was a privilege,” he concluded.