The fact that this attempt succeeds and does not tip over into German dismayed television is also thanks to the sober pictures by van Oosterhout. With a number of almost playful details he succeeds in combining the many characters and locations with each other in a sophisticated way and actually illuminating the apartments of the acting staff as the eponymous "third skin"
‐ frankfurter allgemeine
"Richard Van Oosterhout's handsome cinematography and extensive use of Antwerp and Flanders locations, which mark a refreshing change from the familiar, over-exposed European locales that are usually showcased in thrillers of this type."
‐ THE HOLLYWOOD REPORTER
meticulously shot and unpredictable
‐ VERTICAL ENTERTAINMENT
audience award filmfest ghent 2019
"...The camera alternates between distancing itself from the character, revealing Jonathan’s struggle, and adopting a more subjective viewpoint, which creates a real sense of intimacy and helps the viewer to feel empathy for a character who is far from being portrayed as a monster. Instead, he’s painted as an anti-hero hunted down by his demons..."
"...cinematographer Richard van Oosterhout’s work here is outstanding. Every frame of Dreamland is a treasure, and McDonald infuses the dark, seedy world of the film with an understated whimsical sense of humor".
"...This is all enhanced by the immaculate images courtesy of DoP Richard Van Oosterhout".
"...Washing everything in a synthetic glamour, the cinematographer, Richard Van Oosterhout, coaxes dazzle and delirium from underworld club, glittering ballroom and scummy alleyway."
‐ NEW YORK TIMES
...The costumes and the production design are seen to gorgeous effect in Richard van Oosterhout's luminous images.
Whether he's following the actors in smooth walking-and-talking tracking shots outdoors or observing the faint play of firelight on their faces indoors, he brings a rich cinematic luster to a project that, whatever the final state of Lady Susan's fortunes, succeeds in giving Austen and Stillman the union they deserve...
...Cinematographer Richard Van Oosterhout uses a great deal of natural light for both interiors
and exteriors, making the salons and dressing rooms look vibrant and lived-in without ever
betraying the period setting...
‐ The Wrap
The cinematography shows off all of the costume and set design to great advantage, with lighting simultaneously convincingly realistic, on point, and luscious.
..With a smooth camerawork Richard van Oosterhout gives an extra dimension to this colorful, sometimes dreamy, spirited story about life and love. The scenic light and sophisticated framing provide a powerful aesthetic that enchants the viewer..
‐ JURY DUTCH FILM AWARDS
...The story is being told via the fantastical lens of Katja's romanticized memories, until the story transforms into a horrible nightmare. With images that are drenched in sensuality, the film visually reflects the raging hormones of the teenage girls...
‐ Afi Fest
...Despite the closed quarters "some of the cameras shoot the roadside, but the focus is very much inside the car" the widescreen lensing feels vital...
...Provocative visual imagery in daydream sequences...
...The rigidly composed cinematography is majestic and a major element in establishing the right mood.
the film's last scene is a both an incredible directorial coup de theatre and DoP's moment to shine ; a dutch interior and an italian master's Body After the Deposition meet eachother in perfect harmony...
Artfully framed images
‐ Calligari prize, berlinale
...His precise and closed framing make the tightness of the characters in this film inescapable. Flawlessly he establishes the chilled atmosphere and disturbed family relationships...
‐ Jury dutch film awards
... Ravishingly lensed, widescreen pic's purely cinematic qualities. Rock solid visual assurance carries the day in this tale of few words. Relying mostly on images rather than words...
... superbly shot.
‐ THE VILLAGE VOICE
... beauty is in the eye of Richard van Oosterhout's camera.
‐ EYEFORFILM UK
..Standout visuals. Pic is very prettily lensed by cinematographer Richard van Oosterhout, who turns the coastline into a virgin fantasy space for the lovers to play out their drama in...
..particularly Richard van Oosterhout's bracing photography further the edgy, anything-can-happen tone..