The Evolving Landscape of Cinematography at the Oscars
The Academy Awards, often seen as a barometer for excellence in film, consistently highlight the pivotal role of cinematography in shaping narratives and evoking emotional responses. The "Best Cinematography" category, in particular, celebrates the director of photography’s artful manipulation of light, shadow, color, and composition. Over the decades, this award has recognized shifts in technology and artistic trends, from the golden age of Technicolor to the advent of digital cinema and the recent embrace of large-format photography. The 98th Academy Awards underscore a dynamic period where traditional film aesthetics coexist with cutting-edge digital innovation, often within the same production. This year’s selections reflect a deliberate choice by filmmakers to select tools that precisely serve their narrative ambitions, whether it’s recreating historical textures or crafting hyper-realistic action sequences. The industry’s capacity for adapting and inventing bespoke solutions, as seen in several nominated films, speaks to a relentless pursuit of visual perfection.
A Deep Dive into the Visual Masterpieces and Their Tools
The nominated and winning films of the 98th Academy Awards for cinematography each presented a distinct visual philosophy, meticulously executed with specific camera systems, lenses, and lighting techniques. Understanding these choices provides a clearer picture of how vision translates into tangible cinematic artistry.
Bugonia: Distorted Realities and Thematic Visuals
Yorgos Lanthimos’s Bugonia, a film that continues his collaboration with cinematographer Robbie Ryan, stood out for its unique visual language designed to mirror its themes of obsession and paranoia. Building on their established history with projects such as Poor Things and The Favourite, Ryan employed an arsenal of cameras including the Vistavision Wilcam W-11 and the ARRIFLEX 435 & 435 HS. The choice of these film cameras, particularly the Vistavision, which uses a larger negative area than standard 35mm, allowed for exceptional detail and a distinctive texture that complemented the film’s surreal tone.
A hallmark of Bugonia‘s cinematography was its extensive use of extreme wide-angle and fisheye lenses. This choice was not merely stylistic; it served to create a distorted, often claustrophobic sense of reality that immersed the audience in the characters’ psychological states. This expert level of filmmaking, utilizing specific optics to challenge conventional perspectives, effectively makes viewers question their own reality in a fun and quirky way, a signature of Lanthimos’s work. The combination of classic film stock and unconventional lensing demonstrates a sophisticated approach to visual storytelling, where every technical decision directly contributes to the narrative’s unsettling atmosphere.
F1: The Apex of Action Cinematography
The cinematography of F1, led by Oscar-winning Claudio Miranda, represents a monumental leap in practical action filmmaking. Miranda, known for his pioneering work on Top Gun: Maverick, escalated his techniques by mounting real cameras to custom-modified Formula 2 cars. These vehicles, driven by Brad Pitt and Damson Idris, reached speeds exceeding 150 mph, necessitating unprecedented engineering solutions.
Central to this achievement was the development of "Carmen," a bespoke, miniaturized 6K sensor-on-a-stick prototype. Collaborating with Sony, Miranda spearheaded the creation of a camera approximately a quarter of the size of a standard cinema camera, specifically designed to withstand extreme forces and fit into aerodynamic profiles without compromising vehicle performance or driver visibility. The Sony Venice 2 and DJI Ronin 4D were also integral to capturing the high-octane sequences, offering versatility and robust performance.
These high-tech rigs were strategically distributed across the cars’ "halo" and chassis, providing up to seven simultaneous angles with full remote-controlled pan and tilt capabilities. This multi-camera setup allowed for dynamic, immersive perspectives that placed the audience directly in the cockpit and on the track, resulting in spectacular and unparalleled cinematography that redefined the possibilities of capturing high-speed action. The dedication to practical effects and custom hardware underscores a commitment to authenticity that resonates deeply with audiences and critics alike.
Hamnet: An Intimate Gaze
Chloé Zhao’s Hamnet, featuring the striking visual language crafted by cinematographer Łukasz Żal, known for his Academy Award-nominated work on Ida and Cold War, presented a masterclass in intimate observation. The film was primarily shot on the ARRI Alexa 35, a camera celebrated for its naturalistic image reproduction and dynamic range.
Żal’s cinematography embraced what he described as a "ghost camera" perspective—an observational, drifting lens akin to "death’s point of view." This approach allowed the camera to scan scenes with a quiet, non-judgmental weight, creating a sense of detached intimacy. The ARRI Alexa 35’s ability to render subtle gradations of light and shadow, combined with Żal’s minimalist lighting approach, enhanced the film’s historical setting and emotional depth. This understated yet profound visual style served to amplify the narrative’s poignant themes of loss and memory, inviting the audience to observe rather than merely watch, thereby forging a deeper connection with the characters and their plight.
Frankenstein: Gothic Grandeur in Large Format
In Guillermo del Toro’s Frankenstein, cinematographer Dan Laustsen deployed a sweeping, large-format visual style to modernize the gothic horror aesthetic. The film was shot entirely on the ARRI Alexa 65, paired with Leitz THALIA 65 lenses. The ARRI Alexa 65, with its expansive sensor, provides unparalleled resolution and a unique depth of field characteristic that contributes significantly to the film’s grand, painterly compositions.
Laustsen relied heavily on a 24mm wide-angle lens for nearly 90% of its shots, a bold choice for a large-format production. This allowed for wide, immersive frames that captured the intricate production design and atmospheric landscapes while maintaining a sense of claustrophobia when needed. To soften the inherent digital sharpness of the Alexa 65 and infuse a classic filmic quality, Laustsen innovatively utilized custom Black Pro-Mist diffusion filters placed behind the lens. This technique "burned out" highlights while preserving the deep, rich blacks essential to the film’s moody atmosphere, achieving a gothic elegance that paid homage to classic horror while feeling distinctly contemporary.
Marty Supreme: A Painterly 35mm Aesthetic
Josh Safdie’s Marty Supreme, with cinematography by Darius Khondji, deliberately disregarded modern digital aesthetics in favor of a richly textured, "painterly" 35mm look. Shot primarily on Arricam LT and ST cameras using Kodak Vision3 500T film, the production harnessed the organic qualities of celluloid. Vintage Panavision B and C Series anamorphic lenses were chosen to further enhance this classic feel, introducing characteristic flares, aberrations, and a unique widescreen compression that digital often struggles to replicate.
Khondji’s visual strategy centered on tight telephoto shots, employing exceptionally long lenses (up to 360mm) to capture suffocating, expressive close-ups of Timothée Chalamet. This telephoto approach created an extremely shallow depth of field, isolating the protagonist, Marty, from his environment. This not only made him appear "larger than life" but also simulated an observational, almost voyeuristic feel, mirroring the intense challenges he faces in the competitive world of table tennis. The deliberate choice of film and vintage optics, combined with a precise lensing strategy, crafted a visual narrative that was both intimate and epic.
One Battle After Another: VistaVision Revival and ’70s Grit
My personal favorite on this list, One Battle After Another, brought back the venerable VistaVision format to craft a gritty, 1970s-inspired political thriller. The film utilized a Beaumont Vistavision camera and the Panavision Millennium XL2, embracing a 1.50:1 aspect ratio with large negative spacing throughout, directly inspired by 1970s classics like The French Connection. This choice imbued the film with a unique texture and visual depth that is distinct from modern digital productions.
To achieve a specific period-accurate aesthetic, Panavision’s Dan Sasaki developed a custom set of prototype spherical lenses, dubbed "GWs." These lenses were meticulously designed to emulate the optical characteristics of the glass used by legendary cinematographer Gordon Willis, known for his iconic work on The Godfather Part II and All the President’s Men. The film masterfully highlighted detailed California landscapes alongside suffocating, long-lens close-ups, creating a visual paradox that felt both expansive and intimate. One Battle After Another succeeded in feeling like a modern masterpiece while simultaneously evoking the timeless quality of a classic from the 1970s or ’80s, a testament to its thoughtful technical and artistic direction.
Train Dreams: Photographic Memory and Natural Light
In Train Dreams, cinematographer Adolpho Veloso crafted a visual language deeply rooted in "photographic memory." The film utilized a rare 3:2 aspect ratio, specifically chosen to evoke the feel of vintage still portraits from the early 20th century. This unconventional framing immediately set the film apart, inviting the audience into a world that felt both historical and deeply personal.
Shot digitally on the ARRI Alexa 35, the film relied almost exclusively on natural light, supplemented by real campfires and candles as practical light sources. This minimalist approach gave the film a textured, organic feel, enhancing its historical authenticity and the raw emotionality of its narrative. The ARRI Alexa 35’s exceptional low-light performance and ability to render naturalistic skin tones were crucial for achieving Veloso’s vision, demonstrating how digital technology can be used to emulate and enhance traditional photographic aesthetics without sacrificing fidelity.
Sentimental Value: Dual-Format Storytelling
Joachim Trier’s Sentimental Value (2025), with cinematography by Kasper Tuxen, employed a sophisticated dual-format visual strategy to navigate its complex themes of memory, family, and reconciliation. The primary narrative was captured on 35mm Kodak film using the Arricam LT and Cooke 5/i lenses. This choice provided a classic, organic filmic look, lending a timeless quality to the unfolding drama.
To distinguish the "film-within-a-film" sequences and historical flashbacks, the production ingeniously shifted to 16mm film and applied a bleach bypass process. This technique resulted in a "crustier," older, and more desaturated look, visually signaling a departure into a different temporal or narrative layer. Tuxen’s masterful use of format and processing to delineate different narrative threads showcased a thoughtful approach to visual storytelling, where technical choices actively contribute to the audience’s understanding of the film’s intricate structure.
Secret Agent: Vibrant Hues of Oppression
In The Secret Agent, cinematographer Evgenia Alexandrova utilized a vibrant palette to render the oppressive atmosphere of 1970s Brazil. The film was shot primarily on the ARRI Alexa 35, paired with vintage Panavision B Series anamorphic lenses. The combination of the Alexa 35’s digital fidelity and the anamorphic lenses’ unique optical characteristics (oval bokeh, lens flares) created a visually rich and immersive experience.
Alexandrova’s cinematography leaned into a "360-degree" philosophy, employing wide shots that captured the historical textures of Recife and São Paulo, immersing the viewer in the bustling, often chaotic environment. A distinctive aspect of the film’s visual design was its use of saturated primary colors and a pervasive reddish undertone in the shadows. This deliberate choice created a "woozy," nostalgic heat, effectively conveying the political tension and the sultry climate of the era. The vibrant yet unsettling color grading served as a powerful visual metaphor for the film’s narrative themes, illustrating how beauty can coexist with an underlying sense of unease.
Sinners: IMAX Scale and Gothic Dread
Ryan Coogler’s Sinners, with cinematography by Autumn Durald Arkapaw, crafted a gothic aesthetic that anchored supernatural horror in a tangible, historical reality. The film was shot entirely on IMAX-certified digital cameras, specifically the IMAX MSM 9802, MKIV, and the Panavision System 65, with custom-tuned Panavision Specho spherical lenses. This commitment to IMAX capture allowed for an ultra-wide 1.43:1 aspect ratio in its most sequence-heavy moments, creating a profound sense of "towering dread" in the early 1900s South. The immersive scale of IMAX enveloped the audience, intensifying the film’s horror elements.
Durald Arkapaw’s lighting strategy was particularly notable for avoiding the "Hollywood blue" often seen in typical night scenes. Instead, she opted for a "true black" philosophy, where characters were frequently silhouetted against firelight or the harsh, singular glare of period-accurate lanterns. This high-contrast approach created an effect that visually separated the twin protagonists from the encroaching shadows that seemingly housed the film’s monstrous threats. The stark contrast between the subjects and their environments generated an uneasiness that permeated the entire film, enhancing its gothic horror elements through masterful control of light and shadow.
Broader Industry Impact and Future Trends
The cinematographic achievements celebrated at the 98th Academy Awards highlight several significant trends shaping the film industry. The continued coexistence and artistic interplay between digital and film formats demonstrate that filmmakers prioritize creative intent over strict adherence to one technology. While the ARRI Alexa 35 remains a dominant force for its versatility and image quality, the resurgence of large-format film (VistaVision, 65mm) and 35mm stock, often paired with vintage lenses, signals a desire for unique textures and aesthetic qualities that digital can sometimes struggle to replicate.
The development of custom camera solutions, such as "Carmen" for F1, underscores the industry’s drive to push technical boundaries when existing tools fall short of ambitious creative visions. This bespoke approach suggests a future where camera technology is increasingly tailored to specific projects, fostering innovation in both hardware and technique. Furthermore, the diverse range of aspect ratios and lensing choices—from extreme wide-angles to suffocating telephotos—reflects a period of bold experimentation in visual storytelling, where cinematographers are more keenly aware than ever of how technical decisions influence emotional resonance and narrative impact.
These films collectively illustrate that the art of cinematography is not merely about capturing images, but about sculpting light and shadow, manipulating perspective, and choosing tools that profoundly enhance the storytelling experience. The legacy of the 98th Academy Awards will undoubtedly inspire future generations of filmmakers to continue this journey of innovation and artistic exploration.
Sources – American Cinematographer, Letiz-Cine, MotionPictures.org, Kodak
