Cinematographer Haris Zambarloukos has taken on ambitious visions for his longtime director comrade Kenneth Branagh, from the opulent pre-war world of Agatha Christie’s “Death on the Nile” and “Murder on the Orient Express” to the excesses of “Sleuth.”But for the duo’s new film “Belfast,” based on Branagh’s childhood home and his family’s encounters with “the Troubles” of sectarian conflict there, they took a different approach, Zambarloukos says.“In this case it really was a more personal experience,” the Dp told an audience at the EnergaCamerimage Film Festival of cinematography in Torun, Poland, which he and Branagh attended in person.“Sets were a little bit more open,” said Zambarloukos.
“We left a little bit more chance for things to happen.”Indeed, some of the most compelling images in “Belfast” were improvised, said Branagh, citing an almost magical vision of the hospital bed of Buddy’s dying grandfather,
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