The Cinematography of "Sweetness" with DP Mat Barkley [SXSW 2025]
Thursday, March 27th, 2025
(Left to right) DP Mat Barkley, Actress Kate Hallett - Photo Credit, Jonathan Matta
Written and directed by Emma Higgins in her feature debut, “Sweetness” is a pop-punk infused thriller about parasocial fandom gone too far. When 16-year-old Rylee crosses paths with her rockstar crush, she soon discovers he is deep in the throes of drug addiction. Taking it upon herself to imprison him in her bedroom for an informal detox, her teenage fantasies soon turn nightmarish.
After the film’s SXSW premiere, DP Mat Barkley walked us through the technical and creative choices that informed his approach to “Sweetness,” from selecting the right cameras and lenses, to troubleshooting gear on set.
by Ryan Rosenblum
‘Sweetness’ was filmed with the ARRI Alexa 35, Alexa Mini and Sony A7S II. What choices informed this selection of cameras?
We knew we were going to wind up in some situations where the extended sensitivity and dynamic range of the Alexa 35 would be a huge asset for us. I know there’s some great alternatives to Arri out there at the moment, but my comfort level with their colour rendition and overall workflow isn’t something I wanted to challenge on a project where my attention would need to be in so many other places. The A7S played in two shots where we just couldn’t physically fit a full sized body.
What drew you to this story? Were there any specific moments or visuals in the script that stood out to you upon your first read?
Initially, while reading the script, I was unsure, but as the plot unfolded, my jaw literally dropped. Our writer and director, Emma Higgins, is so good at selling Rylee's story and the world it inhabits. I was 100% onboard after our first call. The script explores some of the same locations again at different times of day and with our characters in varying states, so finding ways to showcase that through the camera was a really attractive challenge.
You shot with a variety of lenses, including the Cooke Panchro/i Classic primes, and a 24-290mm Angeniuex Optimo zoom. What led you to choose these lenses specifically?
Emma and I tested a bunch of different lens options and settled on the Cooke Panchro's for a few reasons. They’re a great looking lens and their speed and short minimum focus allowed us to grab close up moments at a whim without stopping our actors to throw in diopters. The Angeniuex 24 - 290 was necessary for a few long zooming shots that we’d had in mind from the very beginning of prep.
(Left to right) 2nd AC Sean Petrie, 1st AC Nick Petrie - Camera Prep @ Keslow Camera Toronto
How would you describe your visual approach to the project?
My relationship with Emma and our production designer Electa Porado felt very strong from the beginning. It enabled me to approach the project with the goal of preparing as much as possible so that our time on set could be spent making decisions with Emma and our cast about blocking or coming up with new ideas, not problem solving. I’d love to be able to say that all of the lighting and camera decisions were made from a creative place, but as always budget + scheduling were a challenge. We landed on some strong references during prep that gave me targets to work towards and ultimately the constraints we had only helped us get to a place we were happy with.
When it comes to your experience making ‘Sweetness’ in particular, how did working with Keslow Camera help bring the film to life? Were there any challenges during the production that Keslow was able to alleviate?
Keslow was an invaluable help to us! From lens testing to creating our final package, camera prepping, and then problem-solving with us while shooting, we always knew we were supported. We hit one speed bump while prepping the Fookus Pookus PowerBack battery supply, but the folks in the shop at Keslow Camera Toronto were able to swap out the battery plate on our Alexa 35 to make them all play ball together.
Is there anything about the experience of making ‘Sweetness’ that has impacted your creative process going forward?
I don’t think I’ve ever finished a project without taking something away from it, whether that’s a lesson on working with talent from a director, or some lighting trick from a Gaffer or Key Grip. I can’t think of anything at the moment, but I’m sure I'll catch myself doing or asking for many things in the future and realize I picked it up on Sweetness.
My first AC Nick Petrie helped me put together a really great Fookus Pookus PowerBack system that integrates with my EasyRig and made for seamless swapping between proper handheld (with battery / transmitter etc on the PowerBack) and EasyRig supported handheld for longer takes. That’s become a staple for us on shoots that require flexibility.
(Left to right) 1st AC Nick Petrie, Dolly Grip Mikey Sarciron
What was your journey to becoming a DP?
I got started as a part of the really amazing and tight knit film community out in Halifax, NS. Explored post production for a bit and then worked as a spark and AC before transitioning (with a lot of support from the people who trained me in those prior positions) to start shooting.
What advice would you give to aspiring cinematographers who are inspired by your work?
Everyone says this, but I really think it’s the best advice: Shoot as often as possible. It doesn’t matter if it’s a video on your phone, or even stills that you lay down next to each other to show a sequence. Shoot everything you possibly can, and stay involved in the editing process to see what worked and what didn’t.
How do you stay inspired as a creative?
Sometimes, this can be the toughest part of the job. For me, it comes down to my relationships with directors and other crew members. If they’re excited about a project's possibilities, then it usually gets me going, too.
Also staying connected to all of the amazing DP’s across Canada does a lot to get me going. Social media can be tough at times, but in the end it’s such a treat to be able to observe everyone's process and final products.
(Left to right) 2nd AC Sean Petrie, 1st AC Nick Petrie, DP Mat Barkley - Photo Credit, Jonathan Matta
Are there any members of the ‘Sweetness’ camera department or production team in general you’d like to acknowledge for their contributions to the project?
I couldn’t have finished Sweetness without my department heads and their teams: 1st AC Nick Petrie, Gaffer Shane Kirkpatrick, and Key Grip Tyler Emms. Thanks to our AD Alex Champagne and PM Rob Fisher, who bridged the gaps between all the departments and the budget. A special shoutout to Jan Schadle Ubeda, who came up to North Bay to handle our SteadiCam work, and Jack Leahy, who managed all the B Unit duties. It’s impossible to name everyone, but I extend my gratitude to each of the HODs and crew who lent their talents and time, the producers who put it all together, and North Bay for hosting us.
Are there any members of the Keslow Camera team you’d like to acknowledge for their support of the project?
Thanks to everyone at Keslow Toronto, but especially Jim Teevan (Director of Business Development, Eastern Canada), Craig Milne (General Manager, Toronto), Matt Scott (Marketing Agent, Toronto), and Drew Stephenson (former Assistant Operations Manager, Toronto) for all of their support along the many stages! [x]