Branded content / 2025

Dust and Daylight

For Arbor / Directed by

A short documentary for Arbor about the horse wranglers of central Anatolia, who bring their herds down from the hills to water every evening.

Arbor makes clothes for people who work outside, so Samir proposed a film with no product shots at all: three weeks with a family of horse wranglers near Kayseri, filmed at the two times of day the work actually happens. The jackets are in the film because the riders wore them, and that was the only brief we followed.

Leo Hartmann shot on a lightweight large-format camera with two zooms, so the crew could ride in the back of a pickup and keep pace with the herd without stopping to change lenses. There is no artificial light in the film. Sunset scenes were planned to the minute, and the dawn material was shot in the twenty minutes of blue light before the sun clears the ridge.

Mira Kowalczyk recorded hooves, breath and water on separate microphones at the river crossing, and that recording became the spine of the mix. Lior Ashkenazi's score enters only once, when the herd breaks into a run.

A driver's hand on the steering wheel as the wipers clear rain from the windscreen at night.
A driver's hand on the steering wheel as the wipers clear rain from the windscreen at night.
A driver's hand on the steering wheel as the wipers clear rain from the windscreen at night.

Credits

Director

Samir Haddad

Executive producer

Marcus Bell

Producer

Kenji Arata

Director of photography

Leo Hartmann

Editor

Daniel Okafor

Colourist

Nadia Haddou

Sound design

Mira Kowalczyk

Original music

Lior Ashkenazi

Next film

Feedback

The Lowlands / Documentary

Buy template

Notes from a river shoot

notes-from-a-river-shoot

Behind the scenes

Samir Haddad

What a week on a mountain riverbank for Dust and Daylight taught us about tents, weather, small crews and carrying less than you think you need.

Tags

The clapperboard is not a prop

the-clapperboard-is-not-a-prop

Craft

Theo Lindqvist

Why slates, scene and take discipline and proper sound sync still matter on a digital set, and how we run them on every Offscreen shoot.

Tags

Lighting a room with one lamp

lighting-a-room-with-one-lamp

Interviews

Yuna Sato

Yuna Sato and cinematographer Ama Boateng on lighting interiors with practicals for The Long Field and Signal, and why they rarely bring a light the audience cannot see.

Tags

The Long Field premieres at Northlight Film Festival

the-long-field-premieres-at-northlight

News

Hannah Reyes

Yuna Sato's short about a woman walking out across a winter snowfield has its world premiere this week as an Official Selection at Northlight Film Festival.

Tags

Grading Night Drive

grading-night-drive

Craft

Eun-ji Park

Colourist Eun-ji Park on building the look of Night Drive for Halden: two colours, one face, deep blacks and four nights of Manchester rain made to match.

Tags

Annelise Vogt joins the roster

annelise-vogt-joins-the-roster

News

Marcus Bell

The Berlin-based documentary director behind Low Water joins Offscreen for long-form, branded and commercial work, represented by both our London and Los Angeles offices.

Tags

Casting real people

casting-real-people

Craft

Mara Okonkwo

Mara Okonkwo on street casting non-actors for Twelve Rounds, from gym noticeboards and casting tapes to contracts, consent and the first day on set.

Tags

What a treatment is for

what-a-treatment-is-for

Craft

Hannah Reyes

A director's treatment is a promise about a film, not a description of it. Hannah Reyes on what a good one does, what it should never try to do, and how we read them.

Tags

A week in the edit of Feedback

a-week-in-the-edit

Behind the scenes

Daniel Okafor

Editor Daniel Okafor on one week of cutting Feedback, Kofi Mensah-Hart's tour film with The Lowlands, from 300 hours of rushes to a seventy-two minute film.

Tags

Create a free website with Framer, the website builder loved by startups, designers and agencies.