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Vic’s Reviews

Celebrating the Work of Vic Sarin

“The joke in TV circles is that it’s Vic Sarin Month. The award-winning cinematographer’s work seems to be all over the place. He started the year with his directorial debut with the powerful three-part CBC series You’ve Come a Long Way Katie. Next, he weighs in with a 90-minute documentary on homosexuality, directed by John Kastner. CBC is running Fighting Back, which Sarin filmed, and also scheduled this month is Sarin’s one-hour documentary on the Iranian hostage crisis. Oh, and he just finished shooting Don Shebib’s feature movie, Heartaches, which stars Margo Kidder, as well as Passengers, a 90-minute CBC drama. If anyone deserves a break today, it’s Vic Sarin.”

— Bruce Blackadar, The Toronto Star 

“In Heartaches, Vic Sarin’s cinematography is superb.”

— Jay Scott, The Globe and Mail

Chautauqua Girl, the best television program of the year… Vic Sarin made it an enchanting experience on screen.”

– — Ross McLean, Montreal Gazette

Emmy Award-winning cinematrographer Vic Sarin has trained his cameras on dazzling Prairie sunsets and the sweeping landscape to produce a sun-bathed enticement to cancel Club Med plans and book two weeks in southern Alberta…. Some of Sarin’s exterior shots are as stunning as oil paintings.”

— Mike Boone, Montreal Gazette

Thanks to one of CBC’s most consistent assets, cinematographer Vic Sarin, these two hours of Suicide Murders look as good as they play.

— Rick Groen, The Globe and Mail

Judging by the way Vic Sarin’s richly composed images haunt the mind, at least a part of the Canadian film industry has already arrived.

— John Bemrose, Macleans Magazine

Margaret’s Museum
, the third feature by Nation Film Board-trained director Mort Ransen, flaunts the Cape Breton region’s pristine and dramatic landscape like never before through Vic Sarin’s lush cinematography.”

– — John Hopkins, Halifax Mail Star 

In Dancing in the DarkVic Sarin’s camerawork is always the detached observer and without calling attention to itself, subtly changes mood from house to drab hospital, from bright colours to dark … no gesture is water, neither is one camera shot. All technical credits are first-rate.”

-— Cannes Film Festival Reviews. Byline “Adil”. Variety Daily.

Cold Comfort
is a red-hot coup. Vic Sarin, making his feature debut as a director in Cold Comfort, does a marvelous job of freeing the material from its theatrical origins without once damaging the roots. Sarin uses his camera to explore the Western landscape – and Sarin the cinematographer is the Canadian master of that scene. The play, the adaptation, the performances, the direction, this is a film where everything falls immaculately into place.”

– — Rich Groen, The Globe and Mail

Where the film (Bye Bye Blues) really shines is in Vic Sarin’s cinematography with its artfully composed framing, discreet camera movements, and effective use of the distinctive Alberta light … visually it’s gorgeous.”

— Fred Haeseker, The Calgary Herald 

One of the two best things (The Long Road Home) …
Vic Sarin’s stunning and painterly cinematography.”

-— Ray Conlogue, The Globe and Mail

“Artemisia was written, directed and produced by Adrienne Clarkson … lovingly filmed with a painter’s eye by Vic Sarin, maybe Canada’s most honoured cinematographer… Sarin’s subtly-lit camera work has the texture and shades of a Caravaggio painting.”

-— Ted Shaw, The Windsor Star

“In Margaret’s Museum, the seductive beauty of the picturesque Cape Breton community is highlighted at every turn by Vic Sarin’s gloriously affectionate cinematography.”

— Michael D. Reid, Victoria Times Colonist