I co-directed this project with a close collaborator, Jeremy Leibovitch. With this project, we wanted to explore the act of cooking whilst trying to break the mould of a new wave of streaming-based food content. We wanted to make the anti-Chef’s Table version of Chef’s Table.
As a self-funded passion project, it took us a while to find the right subject. When we eventually got in touch with Fredrik Berselius, we saw an opportunity to counteract the precision of his kitchen with the style of our storytelling. Watching the kitchen operate, we saw it was a quiet and confident atmosphere. Nonetheless, it was simultaneously dripping with intensity. Our goal was to try and bring that to the screen.
Directors: Ahad Mahmood & Jeremy Leibovitch
Director of Photography: Ahad Mahmood
We knew we would only be able to shoot for a single day, so we scouted the location beforehand and conducted a pre-interview to flesh out our narrative and stylistic beats. We wanted to shoot on 16mm film, an expensive and risky choice for a documentary, but one that would force us to be decisive in our approach.
During the scout, I shot black and white film as a screen test. This study pushed me to explore the space with a more pointed eye and served as a proof of concept that 16mm film was an appropriate medium to capture the light and drama of the space. The study also gave me a feel for the operation of the kitchen and informed the narrative we would craft.
When developing the visual language of this film, we intentionally avoided referencing food-centric content. To develop a style that was unique and still served the story, we looked to subject matter that we could draw parallels to but was not directly related. Unexpectedly, we found that the cadence and camaraderie of particular war films reflected the rhythm and collaboration of service in a kitchen.
One film we took significant visual cues from was The Hurt Locker (2008). The unpredictable handheld style and spontaneous zooms gave the audience a personal and honest look at the characters. When designing the coverage of the service segment of the film, I made sure to lean into the erratic movement and zooms; we needed to articulate the sustained energy of the kitchen brigade.
I have spent a lot of time in kitchens, both at home and at my mother’s restaurant. Whilst every kitchen operates differently, they all tend to have a percussive sound to them.
It felt natural that the entire piece should have a percussion score. I believed that a striking score would melt into the clanging of pots and pans. I knew the sound of a drum kit and in particular, cymbals and rim hits, would mirror the sounds of the kitchen and bring vigor to the film. I reached out to a friend who is a percussionist in Glasgow; we sent notes back and forth to develop and shape the soundtrack.
Over the last two years, as both a Director and a Cinematographer, I have been focusing on narratives built around food. I’ve shot many commercials and a few short series where food is a pivotal element.
Food is an incredible context in which to frame a discussion. It is completely universal: eating is a basic human need and pleasure. I’ve learnt that great food photography should make you salivate. Great food narratives use food as backdrop to engage with social, cultural and environmental themes.

No Place to Hide

Food

Directed by Ahad Mahmood & Jeremy Leibovitch
Produced by Jeremy Leibovitch
Photographed by Ahad Mahmood
Edited by Matt Morgan
Production Sound by Braulio Lin
Music By Jonathan Chapman
Color by Jared Rosenthal
Sound Design by Bobb Barito
Special Thanks to Samantha Herron, Fredrik Berselius, The Team at Aska, Mark Harrington

Shot on film at Aska in Brooklyn, New York