Variety - David Harvey
This is a very good-looking film — Daniel Lindholm’s widescreen lensing particularly excels at eerie forest nightscapes and frequent sweeping aerial shots — paced with cruelly playful precision.→
The Hollywood Reporter - Stephen Dalton
The overall tech package is a cut above most genre efforts, especially Daniel Lindholm’s cinematography, which finds room for painterly vistas of the mist-shrouded lake and striking high-altitude aerial shots of blazing autumnal forests.→
Film Inquiry - Jake Leonard
Principally, Daniel Lindholm‘s cinematography must be praised for its ever-present beauty and his own ever-invisible presence. He manages to create a distinctive look for the film that gets the best out of its locations and yet only adds to the superb atmosphere created by the cast and their director rather than distracting from it. There is also a great car chase sequence that gets plenty of bang from very little buck.→
Cut Print Film - Chris Evangelista
Director Taneli Mustonen and cinematographer Daniel Lindholm bless their film with an ethereal beauty and soft-focus that most blunt hack-and-slash outings never come close to touching. Lake Bodom’s power is how gorgeous the film looks, with painterly frames galore. There’s enough originality here, mixed with truly stunning cinematographer, to make Lake Bodom stand out from the pack.→
Horror freak News - Michael Klug (Cinematography *****)
Speaking of a car chase, I was immensely impressed with the stunt and camera work of the film’s third act. It’s crazy-intense and had something like Mad Max: Fury Road been focused on only a couple of cars, and not dozens – this would be how it would have looked. It’s a breathless sequence and it just keeps going. I can’t properly express my love for what the filmmakers accomplished here – especially for what is essentially an indie film. Brilliant camera and stunt work? Holy cow, yes! Technically, I can find no fault. And with the mention above of this is what a quality and effective film looks like.→
The Upcoming - Oliver Johnston
Mustonen’s film is skillfully stylish, with each frame being artfully composed. The fictionalised events of Lake Bodom acknowledge the real-life tragedy of 1960 without exploiting it, resulting in an enjoyably disconcerting cinematic experience.→
Screendaily - Kim Newman
An ingenious, intelligent, playfully nasty film. After the first big twist, triggered by the innocuous and horribly ironic line ‘my heart beats only for you’, the film ramps up the suspense in Hitchcockian fashion.→
Daniel Lindholm A Finnish-Swedish cinematographer with strong visual language. Daniels body of work is cinematic with a clear aim for captivating and heightened atmosphere always focusing on the narrative. His lighting has brave character and he is inspiringly creative when it comes to camerawork. Daniel is comfortable working in different genres and aesthetics with high ambition. His credits include 7 feature films.
The buzzed about Scandinavian dark and thrilling Lake Bodom 2016 made a mark in the genre scene and the cinematography has been praised by The Hollywood Reporter, Variety and many more. Daniel has shot over 500 commercials for national and international clients all over the world. He has a Masters degree in Cinematography from Aalto University and is a member of the Finnish Society of Cinematographers, F.S.C. Daniel is a social guy and always does the most to make the director's vision even greater.