The contemporary film industry is evolving faster than ever, yet the fundamental principles of visual storytelling remain unchanged. Yevhen Filatov represents a new generation of cinematographers, blending the rigor of the Ukrainian school with international experience and a distinctly personal vision. In this conversation, he speaks about the influence of his education, working with the K-pop industry, the rise of vertical cinema, and why emotion will always matter more than technology.
Yevhen, you received a strong academic foundation in cinematography in Ukraine, yet today you work in the global industry. How did the Kyiv school shape your visual language, and do you still feel its influence in your international projects?
The Kyiv school gave me a powerful foundation—above all, an understanding that an image should not simply look beautiful; it must carry meaning and emotion. At Karpenko-Kary University, we were taught to think in terms of visual dramaturgy, to treat light as a storytelling instrument rather than a purely technical element. There was also a strong emphasis on composition, color, texture, and the internal rhythm of a scene.
It also shaped my authorial approach. Even when working on commercial or international projects, I always try to find a visual solution that enhances the story rather than just appearing technically correct. This mindset is incredibly valuable today, especially in Los Angeles, where the pace of production is high but a unique visual voice is still deeply respected.
I definitely feel the impact of this education in my current work. The Ukrainian school gave me the ability to work with atmosphere, nuance, and subtle emotional states within a frame. By combining this foundation with modern technologies and international experience, I am shaping my own style—a synthesis of classical discipline and the new possibilities of the global industry.
Your portfolio includes collaborations with major brands as well as feature films. How do you balance commercial aesthetics with an authorial cinematic language? Is this synthesis possible today without losing individuality?
For me, commercial work and auteur cinema are not opposites. In any format, I focus on story and emotion rather than form alone. Even in advertising, there is always an opportunity to approach the image cinematically—through light, composition, camera movement, or rhythm.
The balance emerges when you respect the brand’s objectives while offering your own visual perspective. Today, this synthesis is not only possible but essential, because individuality is what makes an image recognizable. Technology is accessible to everyone, but a personal point of view is what truly sets you apart.
You’ve worked across genres—from historical films to music videos and advertising campaigns. Which projects were key in shaping your visual style, and how does that style continue to evolve in such a rapidly changing industry?
Feature projects and music videos had the greatest influence on my style, because they offer more freedom to search for visual language and atmosphere. Historical projects taught me attention to detail, texture, and light, while music videos encouraged bold decisions, rhythm, and emotional intensity. Commercial work, in turn, gave me discipline and the ability to create strong imagery within clear frameworks and tight timelines.
My style continues to evolve alongside the industry. Technology is changing rapidly, but for me the core remains the same—creating images that serve the story and evoke emotion. I strive to combine a classical cinematic approach with contemporary tools in order to maintain individuality while moving forward.
Los Angeles is often described as the place where the future of cinema is shaped. What surprised you most about the professional culture there, and how has this experience influenced your ambitions and strategic vision?
What surprised me most was the speed of the industry, combined with an exceptionally high level of professionalism. In Los Angeles, every member of the team clearly understands their role, and everyone works toward a shared result. There is also a strong openness to new ideas and a constant sense of forward motion—both technologically and creatively.
Another striking aspect is the sense of limitless possibility. It feels like a place where you can keep growing without ever reaching a ceiling. This experience has expanded my strategic vision: I began to think not only about individual projects but also about the long-term development of my style and position within the industry. Los Angeles motivates you to think bigger, remain authentic, and operate on a global level.
You’ve participated in international productions, including music videos for global and K-pop artists. How does visual storytelling differ across cultural industries, and what do you integrate into your own practice?
Working with international artists showed me how differently various cultural industries approach visual storytelling. In K-pop, for example, there is enormous attention to detail, rhythm, and visual dynamics—every frame is carefully constructed as part of a unified concept. Western projects often place greater focus on atmosphere, emotion, and naturalism.
I try to integrate the best of both worlds—combining precision and visual boldness with emotional depth and cinematic storytelling. This experience makes me more flexible and helps me find solutions that resonate with global audiences while preserving my authorial identity.
Today, the vertical format is transforming how audiences consume content. Do you see it as a temporary trend or a new cinematic language? How can a cinematographer think in terms of framing when the screen becomes “portrait”?
I don’t see vertical as a temporary trend. It’s a new language born from a new way of consuming content. I started shooting vertical projects about two years ago, and since then the quality and level of interest have grown dramatically. Today, vertical content is in an active phase of development, attracting significant investment, including from major platforms like Netflix.
This format places more focus on character, detail, and spatial depth. Movement, foreground and background relationships, and composition within a narrow frame become especially important. It requires greater precision but also opens new creative opportunities.
For me, it’s a natural evolution of cinematic language. Regardless of the format, the main task remains the same—to create images that convey emotion and serve the story.
Looking ahead, how do you see your role in the global film industry? Auteur cinema, major international brands, or the creation of new formats and platforms? And what stories do you most want to tell right now?
I see my role at the intersection of auteur cinema, commercial work, and emerging formats. It’s important for me to maintain a balance between working with major global brands and participating in feature films, because this allows me to develop my visual language and remain adaptable in today’s industry. I’m also deeply interested in new formats, particularly vertical cinema, which is shaping a new relationship between audiences and storytelling.
Most of all, I want to tell stories about people—their inner worlds, choices, and journeys. I’m drawn to narratives that carry emotional depth while remaining universally relatable. I want to create images that don’t simply accompany a story but become an integral part of it—images that stay with the viewer long after the film ends.