Sarah’s first feature film, Encontro Silencioso, won Best Portuguese Feature at IndieLisboa and will go on general release in Portugal in April 2018. She wrapped on her second feature, Flatland, Jenna Bass’s feminist western set in the Karoo desert of South Africa in June 2018. 

Sarah’s work has been screened worldwide, including at the London Film Festival, Cannes and Toronto. Her two self-directed documentaries, Birds Get Vertigo Too and Like Love, picked up more than a dozen awards, winning Best Film at the French short film awards and Best Cinematography at Paris’ Silhouette festival. The BSC showcased Sarah’s work in their New Cinematographers Night 2013 and she is a member of Illuminatrix, a UK collective of experienced female cinematographers.

Her work as director of photography for second unit includes the BBC’s The Miniaturist (DoP Gavin Finney), Guy Maddin’s The Forbidden Room (DoP Ben Kasulke) and Claire Simon’s Gare Du Nord. She operated camera on Ken Loach’s Jimmy’s Hall (DoP Robbie Ryan) and on Pete Travis’ City of Tiny Lights (DoP Felix Wiedemann).  She shot the European segments of Google’s International Women’s Day 2016 film, has made spots for Pampers, Tesco and Laphroaig and shot films to accompany two stadium tours by comedian Jack Whitehall.

Sarah graduated with distinction in cinematography from the prestigious national film school of France, La Fémis. Previously she read Classics at Cambridge, and cut her teeth making observational documentaries while living in Mumbai, India.

Sarah thrives on variety and loves being able to work in different contexts and languages. Recent projects have taken her to the remote forest of Siberia (Rebecca Marshall’s The Forest in Me) and to Antananarivo, the heaving capital of Madagascar (Edouard Joubeaud’s Haingo Soa). She is passionate, dedicated, and keenly sensitive to accidental beauty. She is equally at ease with digital and film stock – as long as there is some poetry in the mix.