Having spent a significant part of his childhood in Ulaanbaatar, Mongolia, cinematographer Josua Fischer always held a special place for the country in his heart. Now, with the film “Harvest Moon,” directed by Amarsaikhan Baljinnyam, Fischer returns to the stunning Mongolian grasslands, a landscape he remembers fondly.
Recalling his early days in Mongolia, Fischer shared with MovieMaker, “I first arrived in Mongolia in ’92 when I was just nine months old. My parents were there for aid and developmental work. We have a cherished collection of slide film photographs from my time there. The bond I have with the place and its people is immense.”
“Harvest Moon” recently gained recognition as Mongolia’s Oscars international feature submission. Furthermore, it clinched the Vanguard Audience award at the Vancouver International Film Festival. The film, in Mongolian dialect, portrays Tulgaa’s (played by Baljinnyam) journey back to his Mongolian hometown to meet his ailing stepfather. Though initially planning a brief stay, he stays longer to assist with the summer harvest. Tuntuulei, a spirited 10-year-old, takes it upon himself to guide Tulgaa on grassland management. Their initial disagreements soon evolve into a mutual understanding, allowing both to mend their individual emotional scars. The narrative deeply connects with Fischer, given his own intertwined memories of Mongolia.
Born in Germany, Fischer’s upbringing took place in Mongolia before he relocated to the U.S. post high school. His Los Angeles stint, spanning eight years, eventually led him to “Harvest Moon” after collaborating with Baljinnyam on the action flick “The Mongolian Connection,” directed by Drew Thomas.
While filming “Harvest Moon,” Fischer, along with the crew, resided in traditional Mongolian tents called yurts amidst the grasslands. This setting, approximately 45 minutes away from the Norovlin village in the Khenti province near the Russian frontier, also served as their discussion hub. “We frequently discussed and even amended the script during our evening sessions,” Fischer recalled.
In a bid to stay authentic, the production team borrowed traditional attire from local nomadic tribes. A particular cinematic moment, featuring a herd of 400 horses atop a hill, was made possible by a local herder’s cooperation.
Fischer heaped praise on his collaboration with Mongolian colorist Ankhtamir, emphasizing how it elevated his visual work. “Working alongside him was a delight. Our numerous discussions, even if through late-night video calls, yielded the desired film aesthetics,” Fischer stated. Their camaraderie extends to Fischer’s upcoming American venture, “Fallen Drive”. About Ankhtamir, Fischer added, “Our wavelengths matched perfectly. He impeccably executed my visual aspirations.”
Fischer’s association with director Amarsaikhan Baljinnyam and editor Bayarsaikhan Batsukh was a crucial aspect of the film’s creation. “Deciphering Baljinnyam’s vision was my priority, and once I understood his perspective, our combined efforts with the editor led to a seamless shooting experience. It felt as if we were a trio directing, with Baljinnyam focusing on the performances, and the editor and I taking charge of the coverage,” Fischer revealed.
Reflecting on his experience, Fischer mused, “This project remains a highlight of my career. The magic we created on set was unparalleled. We truly achieved something extraordinary.”