How Cinematographer John Ker Crafted a Visually Poetic Crowd-Pleaser
At a time when many films lean into darkness and stylization, Two of Hearts stands out with its warmth, wit, and timeless visual charm. Light, elegant, and emotionally grounded, the short film has quickly become a festival favorite, screening at Slamdance, Fantastic Fest, and Festival du Nouveau Cinéma and earning recognition at the Berlin Fashion Film Festival. At the core of its success is the distinct visual language crafted by cinematographer John Ker, whose work has helped the film resonate across borders and genres.
From the outset, Two of Hearts sets itself apart by embracing a classic cinematic style rather than following trends. Shot on 35mm film and framed with a timeless sensibility, the project evokes a sense of universality — you can’t quite place where or when it takes place, and that’s entirely the point. The decision to shoot on celluloid, paired with Panavision Primo lenses, wasn’t about nostalgia but about creating a texture and tone that feel both grounded and elevated.
Interestingly, the film was produced on a limited budget, which meant minimal lighting setups. Instead of seeing this as a constraint, John leaned into natural light, letting the unpredictability of weather shape the mood and look of each scene. This decision added an organic rhythm to the visuals and contributed to the film’s unforced charm. Rather than appearing manufactured or overly polished, every shot feels lived-in, spontaneous, and emotionally authentic.
While Two of Hearts is technically a fashion film, it subverts many of the genre’s conventions. Instead of relying solely on visual spectacle, it weaves a gentle, playful narrative throughout — a rare feat in a space that often prioritizes style over substance. This unique blend of visual appeal and storytelling earned the film a shortlist nomination for Best Script/Storytelling at the Berlin Fashion Film Festival — a distinction rarely given to fashion-focused shorts.
John’s cinematography plays a crucial role in elevating the tone. The film doesn’t rely on flashy camera moves or trendy color grading. Instead, it draws power from its restraint. His preference for naturalism — lighting that mimics real life, colors that reflect actual skin tones, and frames that don’t call attention to themselves — brings a sense of intimacy to the screen. That subtlety allows the story to shine and the characters to feel authentic, even within a stylized world.
With a growing body of work that includes selections at Berlin, Tribeca, and TIFF, John Ker has quietly built a reputation for cinematography that marries technical precision with emotional clarity. In Two of Hearts, that signature style is on full display — not in bold strokes, but in soft details, elegant frames, and a quiet confidence that lets the film breathe.
Two of Hearts doesn’t just stand out because it looks good — it stands out because it feels good. And in today’s cinematic landscape, that’s something rare.