Cinematographer Nadzeya Mikhalchenkava on writing, directing and shooting Cigar Club’s “A Cure For Loneliness”

Could you please tell us about yourself Nadzeya?

I’m a Belarusian-born cinematographer now based in Toronto. My path into cinematography developed through a mix of formal training and working across different countries, I’ve lived and worked in places like France, Australia, China, Cambodia, the UK, and now Canada, which has shaped how I approach visual storytelling. I studied film in Paris and later completed a Master’s in Film and TV at the University of Sunderland, where I refined both the technical and creative sides of my work. In 2025, I was also part of the CSC and Canadian Film Centre cinematography intensive, which was a valuable experience for developing my practice further and connecting with the industry here in Canada. What defines my approach the most is probably my background outside of film, I’m also a musician and a dancer, so I tend to think a lot in terms of rhythm, movement, and emotional pacing when I’m behind the camera.

How did you actually get onboard?

This project came through a mix of relationships within the local scene. I had been following the artist’s work and we had some overlap creatively, so when the opportunity came up, it felt like a natural fit. From the beginning, there was a shared understanding of the tone we wanted, which made the collaboration very smooth. 

Regarding camera and lenses, do you usually have a go-to package?How did you make your choice for this specific project?

I don’t really have one fixed go-to package. I usually choose the camera and lenses based on the mood of the project and how much flexibility we need on set. For “A Cure For Loneliness,” we shot on the RED Komodo-X with the Angénieux EZ-1 and EZ-2 zooms, which felt like the right combination for the visual world of the video. The project moves between these very open, surreal exterior moments and darker, more controlled night scenes, so I needed something that could hold detail in both natural light and more stylised lighting setups. The Komodo-X gave us a strong image with a lot of room in the grade, and the EZ zooms were really useful because we could move quickly between wider compositions and more intimate close-ups without constantly changing lenses. Visually, I liked that the lenses gave us a polished image, but not something that felt too clinical, there was still enough softness and character for the strange, slightly dreamlike atmosphere we were building. 

Did you have specific artistic guidelines for this music video?

Because I wrote the script and directed the video as well, I was very involved in shaping the concept from the beginning. The artistic direction came from wanting the piece to feel psychological, fragmented, and slightly surreal, while still staying emotionally grounded. We looked at references like Memento (2000, dir. Christopher Nolan), The Last Black Man in San Francisco (2019, dir. Joe Talbot), and Twin Peaks (1990–1991, created by David Lynch and Mark Frost) for tone, atmosphere, and the way dreams or inner states can be represented visually. I was also inspired by paintings by Jonathan Crow and Edward Hopper for composition, isolation, and colour, while Viky Garden was 

You mentioned using the Angénieux EZ zooms, which ones and in what configuration?

We used the Angénieux EZ-1 and EZ-2 with the RED Komodo-X, which gave us a really practical range for the different visual needs of the video. The EZ-2 worked well for the wider, more environmental shots, while the EZ-1 allowed us to move into tighter, more intimate frames without losing consistency in the image. Having both lenses available made the shoot much more fluid. We could react quickly to different setups and locations while keeping the same overall visual tone. Because the video shifts between surreal exterior imagery, smoke, masks, night scenes, and quieter emotional moments, that flexibility was a big advantage. It gave us speed on set, but still kept the images feeling controlled and cinematic. 

Are there some particularities of the Angénieux EZ zooms that you enjoyed specifically? Or any feedback you would like to mention?

What I liked about the Angénieux EZ-1 and EZ-2 was the balance between flexibility and image quality. They gave us a proper cinema feel without slowing us down, which was important because the video moves between wide exterior scenes, surreal character moments, and darker night setups. The EZ-2 was especially useful for wider compositions and environments, while the EZ-1 helped with more intimate framing and closer emotional moments. We also used some in-camera zooms while filming, rather than relying on digital zooms in post, which gave the movement a more physical and organic feeling. On the RED Komodo-X, the lenses worked well because the camera is quite clean and detailed, and the EZs softened that slightly without making the image feel muddy. They still felt polished, but not clinical, which suited the dreamlike tone of A Cure For Loneliness. 

How would you qualify your experience on “A Cure For Loneliness”?

It was honestly a dream project for me, because I love magical realism and creating worlds that feel slightly dreamy or heightened, while still staying connected to real emotions. This video gave me the chance to explore that kind of atmosphere visually, something a little surreal, a little strange, but still human. I also felt very lucky with the people around me. A lot of the crew were close friends, so there was a real sense of trust and support on set, which made the whole process feel very special. The musicians were also incredibly talented and easy-going, so the collaboration felt natural from the beginning. It really felt like one of those projects where the right people came together at the right time. 

Would you like to share about your teammates?

Most of us are good friends, so the set felt easy and collaborative, but everyone was also very strong in their own role.

Isalyne Hebert, Felipe da Costa, and Min kept the production side organised and moving smoothly, which gave the rest of us the space to focus creatively.

Leonor Silvério Marques and Han Liu kept the camera department organised and fast.

Bobby Lambrano handled the lighting beautifully, and Jeremy Luo Guan Fa Lorin was great on grip, including running around with Artem to help create the smoke.

For art, Huiru Shi and Karianne Taklo brought a lot of detail to the world of the video, and Mariia Nazarenko and Ava-Marie 

Any anecdotal story from the project?

Because the project was made with a group of friends, we ended up with a lot of good memories from the shoot. The most challenging and almost anecdotal part was probably the masks. They were made from papier-mâché, so they looked great, but they were quite heavy and fragile. After almost every take, Huiru, Felipe, and the makeup team would rush in to help the performer move and protect the mask before anything happened to it. It became this small routine on set, a bit funny, a bit stressful. Looking back now, it feels quite nostalgic to remember those principal photography days.