The 98th annual Academy Awards recently concluded, honoring the pinnacle of cinematic achievement from the past year. While attention often gravitates towards Best Picture or acting categories, the craft of cinematography stands as the bedrock of visual storytelling, transforming scripts into immersive experiences. This year’s slate of nominated and winning films showcased an extraordinary range of artistic visions and technological innovations, solidifying 2024 as a landmark year for visual artistry in film. From the resurgence of vintage film formats to the development of bespoke camera systems, cinematographers pushed the boundaries of their craft, inviting audiences to explore new dimensions of narrative and emotion. This analysis delves into the intricate technical and artistic decisions behind some of this year’s most visually compelling features, examining the gear and techniques employed to forge these memorable moments.
The Enduring Significance of Cinematography at the Academy Awards
The Academy Award for Best Cinematography is not merely a recognition of beautiful images; it is an acknowledgment of the director of photography’s (DP) profound influence on a film’s mood, tone, and thematic resonance. DPs are visual architects, collaborating closely with directors to translate their vision into a coherent and impactful aesthetic. Their choices — from camera selection and lens pairing to lighting schemes and aspect ratios — are critical in shaping audience perception and emotional engagement. The 98th Academy Awards underscored a vibrant period of experimentation and refinement within the industry, with DPs harnessing both cutting-edge digital technology and revered analog processes to achieve their unique artistic goals. The diverse array of films celebrated this year illustrates a broad spectrum of visual philosophies, each meticulously crafted to serve its respective narrative.
Technological Frontiers and Artistic Visions: A Glimpse into This Year’s Nominees
The films recognized at this year’s Academy Awards represent a fascinating cross-section of modern filmmaking. They demonstrate a willingness to embrace new technologies while simultaneously honoring the rich legacy of cinematic craftsmanship. The following sections explore the specific technical and artistic approaches that defined the visual identities of these celebrated productions.
Bugonia: A Distorted Reality Through the Lens of Lanthimos and Ryan
Yorgos Lanthimos’s Bugonia, a critical darling, continues his celebrated collaboration with cinematographer Robbie Ryan. Their visual language, consistently pushing boundaries, meticulously mirrors the film’s core themes of obsession and paranoia. Building on their acclaimed work in Poor Things and The Favourite, Ryan’s cinematography in Bugonia employs extreme wide-angle and fisheye lenses to cultivate a profoundly distorted, almost claustrophobic sense of reality. This aesthetic choice is not merely stylistic; it functions as a narrative device, subtly unsettling the viewer and drawing them into the protagonist’s unraveling mental state.
For Bugonia, the filmmakers deployed a combination of classic and modern film cameras: the Vistavision Wilcam W-11 and the ARRIFLEX 435 & 435 HS. The choice of VistaVision, a large-format motion picture film format, allowed for exceptional detail and a unique photographic texture, contributing to the film’s distinctive visual signature. The ARRIFLEX 435 series, known for its reliability and versatility in studio and location shooting, provided the operational flexibility required for Lanthimos’s often unconventional framing and movement. The synergy between these cameras and the deliberate use of unconventional optics created a cinematic experience that challenges perception, inviting audiences to question their own reality in a fun, yet deeply unsettling, manner. This expert level of filmmaking demonstrates how technical choices can profoundly enhance a film’s thematic depth.
F1: High-Octane Innovation on the Racetrack
The cinematography of F1 represents a monumental leap in practical action filmmaking, orchestrated by the visionary Oscar-winning cinematographer Claudio Miranda. Expanding upon the groundbreaking techniques he pioneered for Top Gun: Maverick, the production for F1 embraced an audacious strategy: mounting real cameras to custom-modified Formula 2 cars driven by stars Brad Pitt and Damson Idris at speeds often exceeding 150 mph. This commitment to practical effects, eschewing excessive CGI, aimed to deliver an unparalleled sense of authenticity and visceral immersion.
Achieving such dynamic, high-speed footage without compromising the cars’ critical aerodynamics or the drivers’ visibility presented an immense technical challenge. Miranda, renowned for his innovative problem-solving, collaborated directly with Sony to develop a bespoke solution: "Carmen." This custom prototype was a miniaturized 6K sensor-on-a-stick, approximately a quarter of the size of a standard cinema camera. Its compact form factor allowed for seamless integration onto the race cars. The primary cameras for the film included the Sony Venice 2, known for its exceptional image quality and low-light capabilities, and the DJI Ronin 4D, a versatile integrated camera and gimbal system, utilized for dynamic, stabilized shots. These high-tech rigs were strategically distributed across the cars’ "halo" and chassis, providing up to seven simultaneous angles. Crucially, they offered full remote-controlled pan and tilt functionality, enabling the cinematographers to capture every exhilarating moment with breathtaking precision. The result is a spectacular display of practical cinematography, immersing the audience directly into the heart of high-stakes racing.
Hamnet: The Quiet Power of Observational Cinematography
Chloé Zhao’s Hamnet features a strikingly intimate visual language, masterfully crafted by cinematographer Lukasz Zal. Zal, celebrated for his Academy Award-nominated work on Ida and Cold War, brings his distinctive sensibility to Hamnet, embracing a "ghost camera" perspective. This approach manifests as an observational, drifting lens, often described as "death’s point of view," scanning scenes with a quiet, non-judgmental weight. The cinematography here is characterized by its restraint and profound emotional depth, allowing the narrative to unfold with a delicate, almost ethereal quality.
The film was predominantly shot on the ARRI Alexa 35, a camera lauded for its organic image quality, wide dynamic range, and exceptional color rendition. The Alexa 35’s ability to capture subtle nuances in light and shadow proved instrumental in achieving Zal’s understated yet powerful visual aesthetic. Its reliable performance and cinematic output made it an ideal choice for a film that prioritizes emotional authenticity and a contemplative pace. The camera’s discreet presence on set allowed the actors to perform with uninhibited freedom, contributing to the raw, naturalistic feel that defines Hamnet‘s visual narrative. Zal’s technique, combined with the capabilities of the Alexa 35, creates an immersive experience where the camera acts as a silent witness, enhancing the film’s profound exploration of grief and creativity.
Frankenstein: Reimagining Gothic Horror in Large Format
In Guillermo del Toro’s Frankenstein, cinematographer Dan Laustsen employs a sweeping, large-format visual style to meticulously modernize the classic gothic horror aesthetic. This film marks another visually stunning collaboration between del Toro and Laustsen, known for their work on The Shape of Water and Nightmare Alley. Their shared vision for Frankenstein was to imbue the classic narrative with a contemporary visual grandeur while retaining its inherent darkness and atmospheric dread.
The film was shot entirely on the ARRI Alexa 65 with Leitz THALIA 65 lenses. The Alexa 65, with its immense sensor and ability to capture incredible detail, provided the expansive canvas necessary for Laustsen’s ambitious vision. The large format allowed for breathtaking wide shots that emphasized the film’s rich production design and often isolated characters within vast, imposing environments. A notable technical decision was the heavy reliance on a 24mm wide-angle lens for nearly 90% of its shots, creating a consistent, slightly exaggerated perspective that enhances the film’s epic scale and claustrophobic moments alike. To mitigate the inherent digital sharpness of the Alexa 65 and infuse a more filmic, classical texture, Laustsen innovatively utilized custom Black Pro-Mist diffusion filters placed behind the lens. This technique subtly "burns out" highlights while meticulously preserving the deep, rich blacks essential to the film’s moody atmosphere, achieving a distinctive look that is both modern and reverent to the gothic tradition. The careful balance of digital precision with analog-inspired softening techniques created a visually arresting and uniquely textured horror experience.
Marty Supreme: The Painterly Precision of 35mm Film
Josh Safdie’s Marty Supreme, with cinematography by Darius Khondji, deliberately eschews modern digital aesthetics in favor of a richly textured, "painterly" 35mm look. Khondji, celebrated for his distinctive visual style in films like Se7en and Uncut Gems, brings a raw, tactile quality to this narrative. His choice reflects a growing trend among certain filmmakers to return to the tangible qualities of film stock, seeking its unique color rendition, grain structure, and subtle imperfections.
The film was primarily shot on Arricam LT, ST, and SR cameras using Kodak Vision3 500T film. This combination is revered in the industry for its versatility, fine grain, and ability to render deep blacks and vibrant colors, contributing significantly to the film’s gritty realism and expressive aesthetic. Complementing these cameras were vintage Panavision B and C Series anamorphic lenses, chosen for their distinctive flares, shallow depth of field, and slightly softer image quality, which further enhanced the desired "painterly" effect. Khondji’s visual strategy prominently features tight telephoto shots, utilizing exceptionally long lenses (up to 360mm) to capture suffocating, expressive close-ups of Timothée Chalamet’s character. This telephoto approach creates an extremely shallow depth of field, effectively isolating Marty from his environment. This visual technique not only makes him appear "larger than life" but also simulates an observational, almost voyeuristic feel, mirroring the intense scrutiny and challenges he faces in the competitive world of table tennis. The deliberate choice of film, vintage lenses, and telephoto framing creates a unique visual signature that is both aesthetically rich and deeply connected to the film’s narrative themes.
One Battle After Another: A Modern Homage to ’70s Gritty Realism
One Battle After Another, a standout film this year and a personal favorite for many critics, masterfully revives the VistaVision format to capture the gritty essence of a 1970s-inspired political thriller. The film consciously draws inspiration from the visual language of classic cinema, particularly the raw realism of 1970s masterpieces like The French Connection. This homage extends to its specific technical choices, creating a film that feels both contemporary and steeped in cinematic history.
To achieve its distinctive texture and aesthetic, the film was shot with large negative spacing throughout, utilizing a specific 1.50:1 aspect ratio that further enhances its period authenticity. A critical component of this visual strategy involved Panavision’s Dan Sasaki, who developed a custom set of prototype spherical lenses, affectionately dubbed "GWs." These lenses were meticulously designed to emulate the optical characteristics of the glass used by legendary cinematographer Gordon Willis, whose iconic work on films like The Godfather Part II and All the President’s Men defined a generation of American cinema. By incorporating these custom lenses, One Battle After Another successfully evokes the nuanced depth, subtle flares, and unique contrast that characterized Willis’s groundbreaking cinematography. The film’s visual narrative expertly highlights detailed California landscapes while employing suffocating, long-lens close-ups that immerse the viewer in the tension and paranoia of the story. The result is a modern masterpiece that skillfully marries contemporary storytelling with the evocative, timeless feel of a 1970s or 1980s classic. The revival of VistaVision and the bespoke lens design underscore a profound respect for cinematic heritage while pushing the boundaries of contemporary filmmaking.
Train Dreams: Evoking Memory with Light and Aspect Ratio
In Train Dreams, cinematographer Adolpho Veloso crafts a visual language profoundly rooted in "photographic memory." The film utilizes a rare 3:2 aspect ratio, a deliberate choice designed to evoke the aesthetic of vintage still portraits from the early 20th century. This unique framing not only pays homage to historical photography but also creates a sense of arrested time, perfectly complementing the film’s contemplative narrative. Veloso’s approach is a masterclass in subtlety and historical resonance, making the past feel both distant and intimately present.
The film was shot digitally on the ARRI Alexa 35, a camera known for its exceptional image fidelity and naturalistic color science, which allowed for a rich, organic texture despite being a digital capture. A cornerstone of Veloso’s strategy was the almost exclusive use of natural light. This commitment to ambient illumination, augmented by real campfires and candles as practical light sources, imbued the film with a textured, more organic, and historically accurate feel. The interplay of natural light and shadow, often soft and diffused, enhanced the film’s dreamlike quality and reinforced the idea of memories fading and emerging. The Alexa 35’s dynamic range proved crucial in handling the delicate nuances of low-light conditions, preserving detail in both highlights and deep shadows. This minimalist yet highly effective lighting approach, combined with the distinctive aspect ratio, creates a deeply immersive and visually poetic experience, drawing the audience into a bygone era with striking authenticity.
Sentimental Value: Weaving Narratives with Dual-Format Filming
In Joachim Trier’s Sentimental Value (2025), cinematographer Kasper Tuxen employs a sophisticated dual-format visual strategy to navigate the film’s intricate themes of memory, family, and reconciliation. This deliberate choice of varying film formats serves as a powerful narrative tool, visually distinguishing different temporal and emotional layers within the story. Tuxen’s approach underscores how technical decisions can profoundly articulate complex psychological landscapes.
The primary narrative, focusing on the present-day story, was meticulously captured on 35mm Kodak film using the Arricam LT camera and Cooke 5/i lenses. The Arricam LT is renowned for its quiet operation and robust performance, making it ideal for dialogue-heavy scenes and intimate moments. Kodak film, particularly the Vision3 stock, provides a rich, organic look with natural skin tones and a pleasing grain structure, lending a timeless quality to the main storyline. To visually distinguish the "film-within-a-film" segments and historical flashbacks, the production made a deliberate shift to 16mm film and incorporated a bleach bypass process. The 16mm format, with its inherent coarser grain and distinct textural qualities, instantly conveys an older, more archival feel. The bleach bypass technique further enhances this effect by retaining silver in the emulsion, resulting in desaturated colors, increased contrast, and a grittier, almost stark appearance. This stark visual contrast effectively separates the past from the present, immersing the audience in the characters’ fragmented memories and creating a profound sense of historical distance and emotional weight. Tuxen’s innovative use of dual formats is a testament to the power of cinematography in shaping narrative perception and emotional resonance.
Secret Agent: Capturing the Spirit of 1970s Brazil in Vivid Hues
In The Secret Agent, cinematographer Evgenia Alexandrova masterfully uses a vibrant and distinctive palette to render the oppressive yet culturally rich atmosphere of 1970s Brazil. Her visual strategy is deeply embedded in the historical and political context of the period, translating the socio-political tensions into a tangible, atmospheric experience for the audience.
Shot primarily on the ARRI Alexa 35 and paired with vintage Panavision B Series anamorphic lenses, the cinematography leans into a "360-degree" philosophy. This approach involves utilizing wide shots that not only capture the expansive beauty and historical textures of cities like Recife and São Paulo but also emphasize the pervasive sense of surveillance and confinement. The anamorphic lenses contribute a classic cinematic look with characteristic oval bokeh and lens flares, adding a nostalgic, almost dreamlike quality to the historical setting. Alexandrova’s color work is particularly notable; she employs saturated primary colors and a distinctive reddish undertone in the shadows. This deliberate color grading creates a "woozy," nostalgic heat that pervades the film, mirroring the humid climate and the simmering political unrest of the era. The red hues in the shadows subtly evoke danger, passion, and the ever-present threat lurking beneath the surface of everyday life. This combination of wide, immersive framing, vintage optics, and a bold, evocative color palette creates a unique visual signature that is both historically resonant and deeply atmospheric, immersing the viewer in the sensory experience of 1970s Brazil.
Sinners: Crafting Supernatural Dread with IMAX and True Black
In Ryan Coogler’s Sinners, cinematographer Autumn Durald Arkapaw crafts a gothic aesthetic that firmly anchors supernatural horror in a tangible, historical reality. This film stands out for its ambitious visual scale and its innovative approach to traditional horror tropes, blending period authenticity with visceral terror. Arkapaw’s collaboration with Coogler (known for Black Panther and Creed) showcases a powerful synergy, translating the film’s dark themes into a truly immersive visual experience.
The film was shot entirely on IMAX-certified digital cameras, including the IMAX MSM 9802 MKIV and Panavision System 65, paired with custom-tuned Panavision Specho spherical lenses. This choice of large-format IMAX cameras allowed for an ultra-wide 1.43:1 aspect ratio in its most sequence-heavy moments, creating an unparalleled sense of scale and "towering dread" that is particularly effective in depicting the early 1900s South. The immersive nature of IMAX enhances the feeling of being enveloped by the film’s menacing atmosphere. Durald Arkapaw’s lighting strategy is particularly innovative for the horror genre. She deliberately avoids the ubiquitous "Hollywood blue" of typical night scenes, opting instead for a "true black" philosophy. In this approach, characters are often silhouetted against flickering firelight or the harsh, singular glare of period-accurate lanterns. This high-contrast technique creates a stark visual separation between the twin protagonists and the enveloping shadows, which seemingly house the film’s monstrous threats. The deep, inky blacks, combined with minimal, focused light sources, create an unsettling uneasiness that permeates the entire film, making the unseen as terrifying as the revealed. This sophisticated use of light and shadow, combined with the immense scale of IMAX, elevates Sinners beyond conventional horror, delivering a deeply atmospheric and visually distinctive experience.
The Evolving Canvas: Implications for Future Filmmaking
The 98th Academy Awards served as a vibrant testament to the dynamic and evolving landscape of cinematography. This year’s nominees and winners showcased a remarkable blend of innovation and reverence for tradition. From the bespoke camera systems developed for F1 to the revival of formats like VistaVision in One Battle After Another, cinematographers are clearly pushing the boundaries of what is technically possible while also rediscovering the unique textures and emotional resonance of classic filmmaking techniques.
The prevalence of both cutting-edge digital cameras like the ARRI Alexa 35 and Alexa 65, alongside a resurgence in 35mm and 16mm film, indicates a mature industry that values artistic intent over rigid adherence to a single technology. DPs are increasingly becoming technical innovators themselves, collaborating with manufacturers to custom-design tools that serve their specific creative visions, as seen with "Carmen" in F1 or the "GW" lenses in One Battle After Another. This collaborative spirit and the willingness to experiment promise an exciting future for visual storytelling, where the tools of the trade are increasingly tailored to the unique demands of each cinematic masterpiece. The meticulous attention to detail, from lens choices and aspect ratios to lighting philosophies and color palettes, reaffirms cinematography’s pivotal role in shaping the emotional core and narrative impact of film. As technology continues to advance, and artists continue to challenge conventions, the art of cinematography will undoubtedly continue to captivate and inspire audiences worldwide.
Sources – American Cinematographer, Letiz-Cine, MotionPictures.org, Kodak, Indiewire, Wikipedia, LensRentals, ARRI Rental, Panavision, YMCinema, Shotonwhat
