International adoptions are intense and complex emotional journeys, and Francesca Pirani‘s documentary Vakhim masterfully tells one of these stories. The director is the adoptive mother of Vakhim, and over time she learns that the child had a sister, Maklin, also adopted in Italy. The film retraces the various stages of the story and, most importantly, returns to Cambodia to stage the memories that Vakhim and Maklin had always expressed and that they were finally able to nurture by reuniting. Produced by Land Comunicazione, Vakhim was presented at the Venice 81 Giornate degli autori and will premiere in Rome at the Farnese Cinema on 24 September (sold out). We interviewed Massimo Intoppa CCS, the project’s director of photography, in collaboration with Luciano Usai, who shared behind-the-scenes insights, revealing the technical and emotional challenges encountered during filming.
Vakhim intensely addresses the theme of adoption. Watching it, I felt a strong emotional charge. What emotions did you experience during filming, especially in Cambodia?
Filming Vakhim was extremely engaging. It was extraordinary how we all behaved. It was something different from a simple documentary; it was a life experience. I hope that those who see it will understand how moved we were. Our challenge was to convey the emotions we were experiencing. I had worked on a similar documentary years ago, but this project was different. We shot some scenes in Rome, but it was in Cambodia that there was a very strong emotional charge. It was essential to capture and reconstruct Vakhim and Maklin’s vivid memories. Typically in cinema, memories are treated photographically with a certain nuance, but in this case, I wanted to make them as real as possible; Vakhim and Maklin described them with precision and vividness.
What guidance did the director, Francesca Pirani, give you for the film’s photography?
I already knew Francesca; I had worked with her on a previous documentary. During the filming of Vakhim, we talked a lot about photography. My main concern was to follow her instructions: some were very precise, while others involved exploring the feelings she aimed to convey. Initially, there were cinematic references, but as often happens, they were abandoned during filming. In the end, we aimed to create a cohesive style. I am satisfied with the final result, even though it wasn’t easy to harmonise all the elements.
Indeed, the film uses a mixed technique with various formats and different media. How did you manage all this narratively?
We filmed the protagonists’ memories—the fictional part—with a Sony F7 (thanks to the generous contribution of Camera Service from Luca, Filippo, Flavio, and Gennaro), using Zeiss 2.1 lenses, two Fujinon Zooms, and a 500mm Canon catadioptric lens that I often use. Catadioptric lenses are quite particular because they have a single aperture but offer interesting focus. On that camera, the 500mm transformed into a 1000mm lens, and it was with this lens that the poster image was created—a peculiar lens that proved extremely effective. What guides a director of photography or a director is to focus the viewer’s attention exactly on what you want them to see.
The search for child actors for the memory reconstructions was constant—a continual revisiting and reflecting… As I mentioned earlier, we aimed for great realism, especially in that part: the memories were so vivid that we couldn’t hide behind the usual effects. On the contrary: those memories were more intense than what we were experiencing at that moment. There are also all the shots Francesca made over the years using different cameras. The pressing reality led us to use anything we had available — from mobile phones to Canons. The circumstances pushed us to improvise, especially when we discovered Vakhim’s biological mother. This unexpected event completely changed the course of filming, taking us in a much more emotional and less rational direction. Despite everything, the film turned out emotionally cohesive rather than technically so—and I believe that is what matters most. Emotion made the technique cohesive.
Speaking of finalisation, how did you manage colour correction considering the different formats?
It was a complicated process, especially integrating older materials. We tried various tools including Topaz software to restore definition to images filmed by Francesca during Vakhim’s growing years. In the end, we decided to maintain the original colouring while trying to modernise it as much as possible without losing authenticity in the images. The colourist, Mauro Vicentini, did an excellent job managing blacks and maintaining the dramatic atmosphere of the narrative.
Given the limited budget, how did you approach aesthetic and practical choices?
We started with the budget and built everything around it. We chose cameras and lenses compatible with documentary work without ever going back on our choices. The Sony F7 proved to be a good choice as did Zeiss lenses. The limited budget forced us to be creative; however, in the end we utilised every available resource in the best possible way.
What advice would you give young directors of photography who wish to work on challenging and thematically deep documentaries like Vakhim?
The advice I can give—valid for almost any situation—is always to keep your budget as your main reference point. If you understand your available budget well and use it as guidance, you will manage your project successfully. Once you’ve made choices about materials though, you should never go back.
Is there a particular moment from filming in Cambodia that has stayed with you?
There were many intense moments; however one of the most memorable was when I picked up a little girl who was the daughter of the woman playing Vakhim’s mother. At that moment I felt an ancestral connection with children that perhaps we have lost. Those children were always with us—curious and participatory. It’s a memory I carry with me always.
Thank you, Massimo. I hope Vakhim finds the audience it deserves.
