ENZO PELUFFO


I consider myself a choreographer, really. I love oners, I mean, why waste storage on multiple shots if you can do it all with one? It reminds me of theatre, rehearsing and dancing alongside the actors, the dolly under me. It’s precise. It’s ballet.

Above all, I consider myself passionate about what I do.

I consider myself a painter, really. I grew up with a pencil and a brush in my hands, spilling my brains out onto the paper. At some point, I realized there’s only so much I can do with the canvas. On the screen, I can paint with lights and bounces and scrims and filters and angles, and if I really want to, I can still paint the screen with a brush.

I consider myself crazy, really. I waste hours and hours finding ways to integrate the camera beyond just a fly-on-the-wall. The camera is a narrator; it is a character that dictates what is told without words. Every angle means something. Every movement has motivation. Every shadow has a source, and every light has a purpose.

ENZO FRANCA PELUFFO

Enzo is a Brazilian-American cinematographer, born and raised in Brazil, who is majoring in Film and Television Production at NYU Tisch School of the Arts. Having to translate his life from Portuguese into English, Enzo seeks to bring his cultural and personal experiences to the screen, not just in terms of nationality, but also gender, sexuality, religion, and related social topics. His work in “Double Date” has been acknowledged by SBIFF’s 10-10-10 Festival.

Enzo is also fond of acting, singing, running, and building useless contraptions.

CONTACT

@enzofp.mov

enzo.f.peluffo@gmail.com