All articles tagged with #cinematography
Natalie Fear praises Lance Oppenheim’s Primetime as a visually unsettling, pulse-pounding biopic about Chris Hansen, anchored by Robert Pattinson’s morally gray performance. The film’s cinematography—blending high-def imaging with hidden-camera aesthetics by David Bolen—evokes a dizzying, nostalgic 2000s reality-TV vibe that’s both claustrophobic and hypnotic, creating unrelenting tension throughout.
Julian Schnabel’s Netflix film In the Hand of Dante is an ambitious, visually lush (and often striking) adaptation that toggles between black-and-white and color storytelling. Anchored by Oscar Isaac and a starry ensemble, it probes art, violence and faith but sometimes feels self-indulgent and scattershot, leaving a sweeping, roomier vision that’s brilliant in spots yet uneven overall.
Cinematographer James Laxton explains Beef Season 2 was shot on the ARRI 265 65mm sensor to broaden the show's visual language, shaping power dynamics through framing and movement across multiple couples, with a finale that brings all characters together in one frame; the season is streaming on Netflix.
At the 2026 Oscars, Sinners racked up 16 nominations but ceded 12 to rivals, becoming the ceremony’s biggest nomination loser, yet still claimed four wins (score, cinematography, original screenplay and lead actor) as Ryan Coogler drove a mood of gratitude and unity; Autumn Durald Arkapaw became the first woman to win cinematography, underscoring a night that celebrated collaboration over competition.
Autumn Durald Arkapaw becomes the first woman to win the Oscar for cinematography for the film Sinners at the 2026 Academy Awards, marking a historic milestone in the industry.
Autumn Durald Arkapaw became the first woman and first person of color to win the Oscar for Best Cinematography at the 98th Academy Awards for Sinners, cementing her place in Oscar history; her prior work includes Black Panther: Wakanda Forever, and her acceptance speech highlighted the contributions of women in the industry.
The American Society of Cinematographers announced its 2025 winners across categories including Theatrical Feature Film, episodic TV, limited/anthology, one-hour series, and the ASC Music Video Award, honoring standout cinematography with honorees such as Autumn Durald Arkapaw for Sinners and other winners across Hacks, The Righteous Gemstones, Severance, Andor, and documentary formats.
Colin Anderson won the Society of Camera Operators’ Camera Operator of the Year for One Battle After Another, PTA’s war-on-the-border epic that moves from armed border zones to desert chases; the award adds to a string of technical prizes for the film from groups including ACE, ADG, and the British Society of Cinematographers as SOC’s livestream announced the winners. On the TV side, Mark Goellnicht won for The Studio’s The Oner, and SOC president Matthew Moriarty praised the camera community’s resilience amid industry challenges like AI.
Cinematographer Roger Deakins reflects on five decades behind the camera, his craft as lighting and visual storytelling, and the collaborative nature of filmmaking. In conversation with his wife James, he discusses his new memoir Reflections: On Cinematography, his preference for careful, minimalist shooting over flashy tech, and his concerns about how AI, streaming, and CGI are reshaping Hollywood toward more event-driven cinema. He laments the loss of character-driven films, outlines the discipline of lighting and planning, and notes how Team Deakins and outreach work aim to demystify the industry for newcomers while acknowledging a changing future for film.
As Taxi Driver marks its 50th anniversary, BBC culture argues the film’s defining moment isn’t De Niro’s famous mirror line but a bold corridor tracking shot that moves away from Travis after Betsy rejects him, turning a painful moment into a universal meditation on loneliness and showcasing Scorsese’s European-influenced, New Hollywood style.
With a shoestring budget, Heated Rivalry’s cinematographer Jackson Parrell aimed for a cinematic look, lighting a Russian funeral scene in a Hamilton dining room and shaping the series’ globe-trotting Montreal–Moscow–Vegas locales, adapted from Rachel Reid’s Game Changers; the result has produced meme-worthy moments while streaming on Crave in Canada and HBO Max in the U.S.
The article is a personal reflection on filmmaker Béla Tarr's relentless pursuit of cinematic perfection, his mentorship, and his influence on the author's approach to film, highlighting Tarr's dedication to craft, authenticity, and the challenges faced during ambitious projects like 'The Man from London.'
Nia DaCosta's film 'Hedda' uses innovative cinematography techniques like Cinefade and double dollies to visually express Hedda's volatile inner world, emphasizing her unpredictable nature through creative camera work and lighting, all grounded in character-driven storytelling.
Yorgos Lanthimos shot his film 'Bugonia' in VistaVision to create a microcosm within a basement setting, using the large-format film to amplify the film's intense environment and big themes, despite the challenges posed by the format's size and noise.
Matthew Libatique discusses his collaboration with Spike Lee on the film 'Highest 2 Lowest,' highlighting Lee's fearless directing style, innovative shooting techniques in New York City, including on live subway cars and during the Puerto Rican Day Parade, and working with Denzel Washington. The film, a reinterpretation of Kurosawa's 'High and Low,' features impressive action sequences and was shot across Manhattan and Brooklyn, overcoming NYC's logistical challenges. Libatique also touches on the impact of AI in filmmaking and his ongoing projects.