Tudor Vladimir Panduru Reveals Secrets of Long Takes at Jakarta World Cinema Masterclass

Masterclass Overview

At the Jakarta World Cinema festival, veteran cinematographer Tudor Vladimir Panduru led a deep‑dive session on the art of long takes. The event attracted filmmakers, students and industry professionals eager to learn from the man behind the visual language of several acclaimed Romanian films.

Participants and Moderator

Benh Zeitlin, known for the Oscar‑nominated Beasts of the Southern Wild, moderated the discussion. He explained that he was invited because of his own experience with extended shots and his respect for Pandur’s meticulous approach.

Attendees included emerging cinematographers from Southeast Asia, film scholars from regional universities and representatives of Jakarta World Cinema’s programming team.

Pandur’s Philosophy on Long Takes

When asked why he favors long takes, Pandur emphasized three core ideas: immersion, continuity and emotional truth. He believes that a single, uninterrupted shot can draw viewers into a scene more effectively than a rapid cut sequence.

Technical Preparation

Long takes demand rigorous planning. Pandur described his workflow as a blend of storyboarding, rehearsals and precise camera movement mapping. He often collaborates with the director during pre‑production to decide where the camera should start, pause and end.

He also highlighted the importance of equipment choice. For Fjord, he used a lightweight handheld rig that allowed fluid movement across rugged terrain, while for Graduation he preferred a steadicam to maintain a steady perspective during interior scenes.

Creative Storytelling

Beyond the mechanics, Pandur views long takes as a narrative device. A continuous shot can reveal character relationships in real time, letting the audience witness subtle shifts in power or tension without editorial interruption.

He cited the opening sequence of R.M.N. as an example where the camera follows a group of students through a school corridor, capturing their interactions and the building’s atmosphere in one fluid motion.

Case Studies – Graduation, R.M.N., Fjord

Graduation (2016)

Directed by Cristian Mungiu, Graduation explores moral compromise in post‑communist Romania. Pandur’s long takes in the film’s family dinner scene let the camera linger on the characters’ faces, emphasizing the weight of the protagonist’s decision.

The sequence was shot with a 50 mm lens and a steadicam, requiring a choreographed dance between actors and camera operator. According to an interview with the Romanian Film Center, the scene was rehearsed for three days before the final take was captured.

R.M.N. (2022)

R.M.N. earned a spot at the Cannes Film Festival’s Un Certain Regard section. The film’s most discussed long take follows a teenage girl walking through a school hallway while a protest erupts outside. Pandur used a handheld rig to keep the movement organic, allowing the camera to respond to the actors’ improvisations.

In a review published by Cannes official website, the critic noted that the uninterrupted shot heightens the sense of claustrophobia and urgency.

Fjord (2023)

Set against the stark landscape of northern Norway, Fjord required a different approach. Pandur opted for a drone‑mounted gimbal to capture sweeping vistas while maintaining a ground‑level perspective for intimate character moments.

The opening long take tracks a lone fisherman from the shoreline into a misty fjord, establishing both location and mood. The shot was achieved in a single take thanks to meticulous coordination between the director, the drone pilot and the lead actor.

Collaboration with Cristian Mungiu

Pandur’s partnership with director Cristian Mungiu spans over a decade, beginning with The Death of Mr. Lazarescu and continuing through the three films discussed above. Their collaboration is built on mutual trust; Mungiu trusts Pandur to translate his narrative vision into visual rhythm.

In a panel at the European Film Academy, Mungiu praised Pandur’s ability to “listen to the story through the camera,” noting that their shared focus on realism makes long takes a natural choice for their projects.

Lessons for Emerging Cinematographers

During the Q&A, Pandur distilled his experience into actionable advice:

1. Plan every movement on paper before stepping on set.
2. Rehearse with actors as if you are filming a stage play.
3. Choose equipment that matches the physical constraints of the location.
4. Stay flexible; allow spontaneous moments to influence the final take.
5. Communicate constantly with the director to ensure the shot serves the story.

He also encouraged participants to watch classic long‑take sequences, such as the opening of Touch of Evil and the hallway scene in The Shining, to understand how timing and composition interact.

Impact of the Masterclass

Attendees left the session with a deeper appreciation for the discipline required to execute long takes. Several film schools in Indonesia announced plans to incorporate Pandur’s methods into their curricula, and a local production company expressed interest in collaborating on a short film that will feature a single, ten‑minute shot.

Benh Zeitlin concluded the masterclass by highlighting the universal language of visual storytelling, noting that whether a filmmaker works in Jakarta or Bucharest, the principles Pandur shared apply across borders.

As the lights dimmed on the Jakarta World Cinema stage, the audience’s applause underscored the lasting influence of a cinematographer who turns patience and precision into cinematic poetry.