Questions by Tara Sanders Brooks, Cinematographer and Writer
CAROLINA COSTA, AMC
Originally from Brazil, Carolina Costa studied at the University of the Arts, London, where she was mentored by Sue Gibson, the first female president of the British Society of Cinematographers. Costa then moved to Los Angeles and earned her Masters in Cinematography from the American Film Institute. She has traveled the world lensing critically-acclaimed feature films, documentaries, shorts, and commercials, including season 1 of Ryan Murphy’s series GROTESQUERIE. She shot FANCY DANCE starring KILLERS OF THE FLOWER MOON Oscar-nominee Lily Gladstone and directed by Erica Tremblay, which premiered at the Sundance Film Festival in 2023 and can now be watched on Apple TV.
Costa has served as the DP on films that have premiered at Cannes, Tribeca, SXSW, and Sundance. One of her five Sundance features, HEROICO, premiered at the 2023 Sundance Film Festival and was featured in the 2023 Camerimage Directors’ Debuts Competition. The film was directed by Mexican filmmaker David Zonana, whom Carolina previously collaborated with on WORK FORCE (MANO DE OBRA). Carolina’s work on HEROICO earned her her third Ariel Award nomination in 2024 for Best Cinematography (Mejor Fotografía).
She has numerous award nominations and won the SXSW 2023 ZEISS Cinematography Award for her work on FANCY DANCE, Tribeca’s 2023 Best Cinematography Award for her work on THE GRADUATES, the 2022 Womenin Media + ZEISS Altitude Award, and was onVariety’s list of “10Latinxs To Watch in 2020”.
WHAT INITIALLY DREW YOU TO WORKING IN CAMERA?
My first real relationship with the camera began through photojournalism. I had dreamed of becoming a war photographer, driven by the idea of capturing a single, raw moment in time, an image that could hold truth and maybe even shift people’s understanding of the world. Growing up in Rio, though, I was confronted early on with the complexity and weight of real-world violence. At some point, I realized that kind of work wasn’t right for me; not because I didn’t care, but because I was already living in a kind of everyday war zone.
That reality made me rethink what kind of images I wanted to make. I still wanted to move people, to spark emotion, to shift perspectives, to share stories, but I realized I could do that through a different kind of lens. I hadn’t even known cinematography was a career path until I heard at English class that someone’s dad was a DoP! That’s a real job? I thought? When I stepped onto a film set for the first time, something clicked. I was working as a camera trainee, but I knew films were my language, I was certain of that.
WHAT INSPIRES YOU?
I try to carry that first spark with me on every project. Staying curious, open, and ready to explore is a huge part of what keeps me inspired. That inspiration can come from so many different places: watching films, seeing art, or even something as simple as a strange, beautiful light while scouting, or an actor making an unexpected choice on set. For me, it’s all about staying present and keeping that sense of wonder alive.
WHAT DOES BEING A 2022 ALTITUDE AWARD WINNER MEAN TO YOU? HOW HAS IT INFLUENCED YOUR CAREER IN THE LAST THREE YEARS?
Being a 2022 Altitude Award winner was a real milestone for me. It felt like a moment of recognition not just for the work I had done, but for the way I was doing it, leading with intention, curiosity, and care. So to have my work acknowledged by such a meaningful platform was incredibly validating. It gave me the confidence to keep trusting my instincts. But beyond the career impact, it also reminded me why I started this path in the first place. It grounded me. It made me even more committed to telling stories that matter, that resonate, and that reflect the world in all its complexity. The award wasn’t a finish line, it was fuel.
WHAT HAVE YOU LEARNED FROM THE FILM FESTIVAL CIRCUIT?
I’ve had the fortune of screening films at Sundance, but also at other incredible festivals like Cannes, Venice, Tribeca, and Berlinale. What I’ve learned is that no matter how many times you see a film in post, nothing compares to the shared experience of seeing it with an audience of strangers sitting together in a dark room. That makes it all worth it.
I’ll never forget the Sundance premiere of FANCY DANCE. The audience was laughing so much throughout, and then by the end, everyone was in tears. To witness that full emotional journey, to see how the film lives in real time with people it’s so special. There’s a scene early on in MANO DE OBRA when a construction worker falls, and at the screening in Havana, the entire audience
WHAT’S NEXT FOR YOU?
Last year was an intense one, in the best way. I got to collaborate with a lot of friends, which always makes the work more meaningful. I reunited with Karena Evans for a commercial project that was just pure fun, and I also shot the pilot and five more episodes of GROTESQUERIE with Max Winkler and Ryan Murphy. That project really pushed creative boundaries for me, and I’m proud of what we built together. This year has been just as full. I recently shot a couple of episodes for the new season of MONSTERS, and going to the premiere of OLMO in Berlin was a really special moment too.
I realized I needed to recharge a bit, so I’ve been going on long sunrise walks with my dogs. Honestly, that’s what’s next for me – some quiet, some space to think and feel grounded again. We are also finishing post for my latest short as a director, which I’m really excited about. We’re getting ready to start the festival run for it, so that’s a new chapter I’m looking forward to. It feels good to have a moment of pause to reflect, and to choose the next step with intention.
WHAT ADVICE DO YOU HAVE FOR YOUNG WOMEN AND NONBINARY FILMMAKERS AS THEY START THEIR JOURNEYS IN THE FILM INDUSTRY?
No matter the size of the project, I believe in always giving my absolute best-whether it’s crafting the strongest visual language for a story or being the best leader I can be as a head of department. The most important job is always the one you’re doing at that moment. I’ve never liked the attitude of “that’ll do.” | believe we should always strive to raise the bar, to push ourselves, and to chase excellence-right up until the very last shot. I believe adaptability and flexibility are essential for a long and successful career. At the same time, it’s just as important to stay true to what makes you unique-the perspective and storytelling only you can bring to the table. As storytellers, our personal experiences set us apart. Embrace and appreciate that uniqueness.
For young women and nonbinary filmmakers in particular, I’d say this: your voice, your lens, and your lived experience matter. You might sometimes feel like you have to prove your place in rooms where you’re one of the only ones who looks like you but your presence there is powerful. Own it. Also, don’t underestimate the value of community. The more we make space for each other, the more the industry grows in depth and richness. Lastly-nobody wants to work with someone who’s always complaining. Take responsibility for your own stuff, be a positive force, and go have fun on set. We literally get paid to make art-it’s one of the best jobs on the planet. Keep your sense of joy close, stay humble, stay curious, and remember why you started, it’s easy to forget.
