One of the world’s most brilliant and audacious cinematographers, Christopher Doyle has undeniably created some of the most beautiful and innovative cinema imagery of all time.
He left his native Sydney beach culture on a Norwegian merchant ship at the age of eighteen, and his subsequent experience as a Kibbutz-nick cowboy in Israel, quack doctor in Thailand, and “green agriculturalist” in India, inform but don’t really explain his work. In the late seventies, Doyle was “re-birthed” as Du Ke Feng, which means “like the wind.”
Soon after, he moved to Taiwan where he started to photograph and film, theatre and dance. It was his 8mm and video work that moved director Edward Yang to hire him for his debut film THAT DAY, ON THE BEACH. Fluent in Mandarin, French and Cantonese, Du Ke Feng subsequently became a sought after cinematographer in Taiwan, China and Hong Kong.
He has been exploring the art form ever since. Du Ke Feng has realized over fifty Chinese-language films, and his alter ego Christopher Doyle has made more than twenty in various other languages and film cultures. His body of work is famously distinct, characterised by images that are lush, kinetic and highly textural.
Du Ke Feng worked with Hong Kong director Kar-Wai Wong on DAYS OF BEING WILD, which began a collaboration between the two that included some of the most iconic Asian films of the next two decades: CHUNGKING EXPRESS, ASHES OF TIME, FALLEN ANGELS, HAPPY TOGETHER, IN THE MOOD FOR LOVE and 2046.
Du Ke Keng/Doyle went on to create stunning visual aesthetics for Zhang Yimou’s award-winning wuxia film HERO, Gus Van Sant’s masterful PARANOID PARK, M Night Shyamalan’s fantasy/thriller LADY IN THE WATER and the rich cinematic experience of Jim Jarmusch’s THE LIMITS OF CONTROL.
Doyle’s most recent collaboration with visionary Alejandro Jodorowsky on his carnivalesque memoir ENDLESS POETRY (POESIA SIN FIN) screened at this year’s Directors Fortnight section at Cannes Film Festival.
See Christopher at the following sessions: