Brandon Lattman was born in San Diego, California on the 5th February 1992. In 2015 he moved to Los Angeles to study filmmaking at The New York Film Academy where he found an interest in cinematography. He also developed himself in other filmmaking areas such as directing, writing and editing. He is known for his work on The Waltz of the Monsters (2017), Repertoire of Memory (2016) and Methadone (2018). His latest film Trifole (2024) held its world premiere at the Palm Springs International Film Festival (PSIFF) 2025 and has been making its rounds at international festivals since.

 

Can you speak about where you are from, your background and how you got into film? 

BRANDON: I was born and raised in San Diego, California. I’ve always had an interest in film, but it all started with an obsession with nature documentaries. I loved watching shows such as Planet Earth and Blue Planet and would imagine myself being the cameraman out in the field capturing this footage. This eventually evolved into imagining myself behind the camera on film sets and being able to have total control over what I capture. 

 

How difficult is it to make an independent film in Italy? 

BRANDON: In comparison to making a film in the United States, independent filmmaking seems to be a lot more manageable and non-restrictive. Communities surrounding our shoot locations seemed to be very welcoming and ive of us and even inspired/participated in our production.

 

What have been the films and talents that have inspired you the most and perhaps influenced you the most?

BRANDON: I think of Roger Deakins whenever I approach new project. I guess you can say that I have a Deakins complex. I’m also very moved by the work of Vitoria Storaro and his iconic uses of shadows and low-key lighting. Thirdly, I ire the ambition and integrity of Ron Fricke and his work on the documentaries he has put out over the last few decades. 

 

Can you tell us about your most recent film “Trifole” and the inspiration that began the journey to make it? 

BRANDON: The story of Trifole resonated with me because I had recently lost a grandfather who was suffering from memory loss and was struggling to take care of himself. I saw a lot of him in the character of Igor and I thought about him most of the time I was on set. I even brought some of his cold weather jackets with me and wore them almost every day. 

 

Do you have an anecdote, a funny or memorable event that happened while making the film that you would like to share?

BRANDON: There was one early morning when we were shooting at “Igor’s house” at sunrise. The fog was rolling in so thick and heavy that day that it put the entire production to a halt. We all stopped and stared as the fog streamed through the valley like a river. It was such a calm moment, and it was so uniting to stand there, side by side and just ire the work of mother nature. Of course, we got some shots of it. 

 

What is one of the most valuable things you have learned on the journey of making this film?

BRANDON: Every day I was reminded of the value of community and what it means to truly each other. The locales and everyone surrounding our production really cared about what we were doing, and they all made sure to give us a comfortable space to excel in. 

 

What will you be working on next?

BRANDON: We shall see!

 

Interview by Vanessa McMahon