Film is perverse surveyance so I'm always drawn to camerawork that fully commits to being 'the observer'. There's also something particularly inpiring about amateur handheld, maybe because it's closer to the low-budget film that i can make but I also think it takes you back to the roots (and meaning?) of the medium. Of course there's a way to make Kubrickian steady-cam work but I kinda wish that didn't become the default for EVERY type of movie because simpler stories can be made into deeper ones with handheld.
'KINETTA' (basically a synonym for 'kinetic' or 'active' - a title I love the irony of) utilizes this camera 'style' so well, kinda making it into a commentary on reality vs. fiction in itself, especially when the framing would be off when filming a cameraman who could only have better shots of the subject than even we do.

Honestly such a cool debut to have.
Seen every Yorgos film at least once now and I'm sorry to say but 'The Lobster' is still my least favourite for now.