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"Look at the lighting scheme from that point forward: what we’ve taken to calling bisexual lighting — a collision of blues and pinks, vibrantly intermixed — and mussed it up into a signifying haze. It becomes something portentous and terrifying, a harbinger of the inevitable as Renesha finds herself passing out in her assailant’s car."   Austin K. Collins, The Rolling Stone
"These beautifully performed establishing scenes have a light, airy, quasi-indie-romance quality, or they would, if not for the marginal unease summoned by Ludovica Isidori’s camera — slightly too still, slightly too watchful — and Robert Ouyang Rusli’s excellent strings-based score, which wraps Renesha in melodic cello motifs edged in melancholy."   Jessica Kiang, Variety 
"In Shatara Michelle Ford’s experimental thriller ​Test Pattern​, light and dark are intertwined. The film is a staggeringly impressive debut, blending color, sound and story to create an intricate emotional tapestry."  Jourdain Searles, The Hollywood Reporter
"Coupled with the talents of cinematographer ​Ludovica Isidori and music by Rob Rusli, Ford’s “Test Pattern” is an engrossing human drama, one that examines the intersections and inequalities between race, gender, and healthcare in a poignant and powerful way."   Monica Castillo, Roger
"The woozy closure to the evening bursts in a jagged kinetic stream of DP Ludovica Isidori’s arresting red images. And in the aftermath, is Renesha’s tangible psychological pain."  The Playlist
"Another highlight of this film is the stellar cinematography. The film doesn't have anything too complicated, but it has some beautiful shots and great camera work to help paint the emotional pictures."
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“It’s funny you mentioned Todd Haynes, because when I watched Test Pattern I thought about his cinematographer, Ed Lachman, and his use of camera and color to focus on certain things and convey a specific point of view"  James Grey on Test Pattern

"Ford and cinematographer Ludovica Isidori photograph these scenes like a horror movie: Scarlet reds blaze across the screen with a fuzziness fitting of Renesha’s mental state. Later in the movie, Renesha recalls these fragmented moments like an out-of-body experience. Isidori gives Renesha a ghostly outline as if her self was divided, doubled, and superimposed." Micheal J. Cinema

Slant Magazine
Film Snob
LA Times
Film Festival Today
JeanBookNerd Podcast Interview with The Fourth Wall Cinematographer Ludovica Isidori
"The Fourth Wall is a frantic black comedy about the ephemeral and shallow nature of show business, beautifully filmed with a constantly moving camera following a high and occasionally dizzy protagonist"
"The long, walking shots, colorful sets, and over-the-top characters immediately gave me flashbacks to the 2018 film, ​Climax​, which was really good."  The Horror Guys
"The cinematography by Ludovica Isidori, and the use of colour made for some beautiful and memorable visuals. The camerawork by Etienne Muller consisted of a lot of impressive long continuous takes that were satisfying to watch."  Killer Horror Critic
"The film was entirely shot on a Steadicam with the Alexa LF. We had 5 days of rehearsal with our actors and our camera so we were able to map out and master what each shot would look and feel like before our actual shoot days, which was so helpful. I love the kinetic energy that comes from having continuous shots."  Director's Note
"TIJUANA looks like a project made for Showtime" Slamdance Film Festival
"Ryan Ross, Z Berg team up on Christmas song, “The Bad List”   ALTPRESS
"Z Berg and Ryan Ross 'The Bad List"  Flaunt
"Z Berg and Ryan Ross premiere video for dark Christmas ballad, The Bad List"   Force Field
"Meet Alex Black: A Queer '80s-Inspired Pop Star Driven By Death". Papermag
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