The 98th annual Academy Awards recently concluded, celebrating a remarkable year in cinema defined by groundbreaking visual storytelling and innovative technical achievements. The ceremony highlighted films that pushed the boundaries of cinematography, showcasing an array of creative approaches, from the revival of classic film formats to the development of bespoke digital camera systems. This year’s nominees and winners in the cinematography categories underscore a dynamic period in filmmaking, where visual artistry plays an increasingly pivotal role in shaping narrative and audience experience.
The Enduring Significance of Cinematography at the Academy Awards
The Academy Award for Best Cinematography is one of the most prestigious honors in the film industry, recognizing the director of photography’s crucial role in crafting a film’s visual language. This award celebrates the mastery of lighting, composition, camera movement, and technical execution that transforms a screenplay into a compelling visual narrative. Over the decades, the category has adapted to technological shifts, from the advent of Technicolor and widescreen formats to the current era of digital capture and large-format filmmaking. This year’s selection reflects a diverse landscape, demonstrating that whether shot on vintage film stock or cutting-edge digital sensors, the core principles of visual storytelling remain paramount. The deliberations by the Academy’s cinematography branch are rigorous, often focusing on the deliberate choices made by cinematographers to serve the film’s thematic and emotional core, rather than mere technical prowess.
Prevailing Trends and Technical Innovations
The films recognized at this year’s Academy Awards reveal several significant trends within contemporary cinematography. One prominent theme is the deliberate choice between digital and analog capture, with many filmmakers opting for the unique textural qualities of film stock, even in an increasingly digital world. Large-format filmmaking, particularly with IMAX and ARRI Alexa 65, continues to gain traction for its immersive qualities and unparalleled detail. Concurrently, there is a strong push towards bespoke camera solutions and innovative rigging, especially for action sequences, as seen in the development of specialized prototypes designed to capture unprecedented perspectives. The strategic use of vintage lenses, diffusion filters, and specific aspect ratios further demonstrates a meticulous approach to crafting distinct visual identities for each project. These trends highlight a creative environment where technical advancements are harmoniously blended with artistic vision, often drawing inspiration from cinematic history while forging new paths.
An In-Depth Look at the Cinematographic Nominees and Winners
This section explores the specific techniques and artistic philosophies employed by the cinematographers behind this year’s most visually striking films, offering a glimpse into how these masterpieces were brought to life.
Bugonia
Cameras Used: Vistavision Wilcam W-11 & ARRIFLEX 435 & 435 HS
Yorgos Lanthimos’s "Bugonia" marks another visually distinctive collaboration with cinematographer Robbie Ryan, continuing a partnership that has yielded acclaimed works like "Poor Things" and "The Favourite." For "Bugonia," Ryan employed a visual language meticulously designed to echo the film’s pervasive themes of obsession, paranoia, and psychological distortion. The cinematographic strategy heavily relied on extreme wide-angle and fisheye lenses, a bold choice that creates a profoundly disorienting and claustrophobic sense of reality for the viewer. This deliberate use of distorted perspective actively draws the audience into the protagonist’s fractured mental state, challenging their perception of normalcy within the film’s unfolding events. The Vistavision Wilcam W-11, known for its large negative area and horizontal film transport, was likely utilized for its capacity to capture expansive yet warped images with exceptional detail, while the ARRIFLEX 435 and 435 HS provided robust and reliable 35mm film capture for more conventional or dynamic sequences. This fusion of specialized film cameras allowed for a rich, textured image that amplified the film’s unsettling atmosphere, making the visual experience integral to its narrative impact. Ryan’s work on "Bugonia" exemplifies an expert level of filmmaking where technical choices are seamlessly integrated into the thematic fabric of the story, provoking introspection on the nature of reality itself.
F1
Cameras Used: Sony Venice 2, Carmen (Custom Prototype), DJI Ronin 4D
"F1" represents a monumental leap in practical action filmmaking, orchestrated by Oscar-winning cinematographer Claudio Miranda, renowned for his work on "Top Gun: Maverick." Building upon the groundbreaking techniques pioneered for its predecessor, the production of "F1" pushed the boundaries of automotive cinematography. The core strategy involved mounting real cameras onto custom-modified Formula 2 cars, with actors Brad Pitt and Damson Idris driving at speeds exceeding 150 mph. This ambitious approach necessitated innovative technical solutions to avoid compromising the cars’ aerodynamics or the drivers’ visibility. Miranda’s collaboration with Sony led to the development of "Carmen," a bespoke, miniaturized 6K sensor-on-a-stick prototype, approximately a quarter the size of a standard cinema camera. This revolutionary device allowed for unprecedented camera placements.
These high-tech rigs, integrated into the cars’ "halo" and chassis, provided up to seven simultaneous camera angles, all with full remote-controlled pan and tilt capabilities. The primary camera, the Sony Venice 2, was used for its exceptional image quality and dynamic range, serving as the main unit for many sequences. The DJI Ronin 4D, an integrated cinema camera and 4-axis gimbal system, likely offered unparalleled stabilization for dynamic tracking shots. The combination of "Carmen" with the Venice 2 and Ronin 4D enabled the capture of spectacular, immersive footage that places the audience directly within the high-octane environment of Formula 1 racing. This practical approach, minimizing reliance on CGI, delivered an authentic sense of speed and danger, setting a new benchmark for action cinematography and underscoring the industry’s continued pursuit of realism in high-stakes productions.
Hamnet
Cameras Used: ARRI Alexa 35
Chloé Zhao’s "Hamnet" features a strikingly intimate and profoundly contemplative visual language, meticulously crafted by cinematographer Lukasz Zal. Zal is widely recognized for his Academy Award-nominated work on films like "Ida" and "Cold War," where his stark, monochromatic aesthetics and precise compositions garnered critical acclaim. In "Hamnet," Zal embraces a unique "ghost camera" perspective – an observational, drifting lens that has been aptly described as "death’s point of view." This approach imbues the cinematography with a quiet, non-judgmental weight, allowing the camera to move through scenes with a subtle presence, almost as an ethereal observer of the unfolding human drama.
Shot on the ARRI Alexa 35, the film benefits from this camera’s exceptional dynamic range, natural color rendition, and low-light performance, which are crucial for achieving the nuanced atmospheric quality Zal sought. The Alexa 35’s ability to render delicate skin tones and subtle environmental textures contributes significantly to the film’s intimate feel, making each frame resonate with emotional depth. Zal’s mastery lies in his ability to create deeply evocative imagery through restraint, allowing natural light and carefully composed frames to speak volumes. The "ghost camera" technique fosters a sense of timelessness and inevitability, aligning perfectly with the historical setting and the poignant themes of loss and memory explored in "Hamnet," reinforcing the narrative through its unique visual perspective.
Frankenstein
Cameras Used: ARRI Alexa 65
In Guillermo del Toro’s "Frankenstein," cinematographer Dan Laustsen employs a sweeping, large-format visual style to reinterpret and modernize the gothic horror aesthetic. This project marks another collaboration between Laustsen and del Toro, following their acclaimed work on films such as "The Shape of Water" and "Nightmare Alley," where their distinctive visual synergy has been a hallmark. "Frankenstein" was shot entirely on the ARRI ALEXA 65, a camera celebrated for its immense sensor size and unparalleled resolution, which provides a rich, cinematic canvas for Laustsen’s vision. Paired with Leitz THALIA 65 lenses, known for their precise rendering and pleasing bokeh, the ALEXA 65 captures an extraordinary level of detail and depth.
A significant aspect of Laustsen’s approach was the heavy reliance on a 24mm wide-angle lens for nearly 90% of the film’s shots. This choice creates an expansive, immersive field of view, allowing the gothic environments to loom large and envelop the characters, enhancing the film’s atmospheric dread. To mitigate the inherent digital sharpness of the ALEXA 65 and achieve a more organic, film-like texture reminiscent of classic horror, Laustsen utilized custom Black Pro-Mist diffusion filters. These filters, strategically placed behind the lens, soften highlights and introduce a subtle glow, effectively "burning out" brighter areas while meticulously preserving the deep, rich blacks that are absolutely essential to the film’s moody and sinister atmosphere. This high-contrast approach, combined with the large format, creates a visual tapestry that is both grand and intimately terrifying, effectively modernizing the classic horror narrative while honoring its stylistic roots.
Marty Supreme
Cameras Used: Arricam LT, ST, SR, Bolex
Josh Safdie’s "Marty Supreme" sees cinematographer Darius Khondji deliberately eschew modern digital aesthetics in favor of a richly textured, "painterly" 35mm film look. Khondji, known for his distinctive work on films like "Se7en" and "Uncut Gems," continues to demonstrate a profound appreciation for the tactile qualities of celluloid. The film was primarily shot on Arricam LT and ST cameras, workhorses of 35mm production, utilizing Kodak Vision3 500T film stock. This choice of film provides a natural grain structure and a color palette that evokes a sense of raw realism and nostalgic authenticity, perfectly suiting the film’s intense character study.
The production further utilized vintage Panavision B and C Series anamorphic lenses, which impart unique optical characteristics such as distinctive lens flares, oval bokeh, and a subtle softening of the image, contributing to the film’s expressive visual texture. Khondji’s visual strategy for "Marty Supreme" notably centers on tight telephoto shots, employing exceptionally long lenses (up to 360mm) to capture suffocating, emotionally charged close-ups of Timothée Chalamet’s character. This telephoto approach creates an extremely shallow depth of field, effectively isolating Marty from his environment. This isolation not only makes him appear "larger than life" within his confined world but also simulates an observational, almost voyeuristic, feel, mirroring the intense scrutiny and personal challenges he faces in the competitive table tennis world. The combination of film stock, vintage anamorphic glass, and telephoto compression crafts a unique visual style that is both immersive and deeply psychological.
One Battle After Another
Cameras Used: Beaumont Vistavision, Panavision Millennium XL2
"One Battle After Another," a standout on this year’s list, masterfully revives the VistaVision format to deliver a gritty, 1970s-inspired political thriller. This film’s visual identity is a deliberate homage to a bygone era of filmmaking, prioritizing texture, depth, and a specific cinematic grammar. The use of a 1.50:1 aspect ratio, combined with large negative spacing throughout, directly draws inspiration from 1970s classics such such as "The French Connection," imbuing the film with an authentic period feel and a sense of raw, documentary-like immediacy. The Beaumont Vistavision camera, a specialized large-format film camera, was instrumental in achieving the desired expansive yet gritty aesthetic.
To further refine this texture and optical characteristic, Panavision’s renowned optical designer Dan Sasaki developed a custom set of prototype spherical lenses, affectionately dubbed "GWs." These lenses were specifically engineered to emulate the unique optical qualities of the glass favored by legendary cinematographer Gordon Willis, known for his iconic work on "The Godfather Part II" and "All the President’s Men." Willis’s signature style, characterized by deep shadows, precise compositions, and a slightly desaturated palette, is subtly referenced through these custom lenses. The cinematography of "One Battle After Another" meticulously highlights detailed California landscapes with sweeping wide shots, contrasting them with suffocating, long-lens close-ups that amplify the tension and psychological pressure on its characters. This blend of historical format, custom optics, and a deep understanding of cinematic legacy results in a modern masterpiece that feels profoundly rooted in the classic filmmaking of the 1970s and early 1980s, resonating with both historical authenticity and contemporary relevance.
Train Dreams
Cameras Used: ARRI Alexa 35
In "Train Dreams," cinematographer Adolpho Veloso crafts a visual language deeply rooted in the concept of "photographic memory," creating a film that feels both timeless and deeply personal. Veloso’s distinctive approach utilizes a rare 3:2 aspect ratio, a deliberate choice intended to evoke the feel of vintage still portraits from the early 20th century. This aspect ratio, more common in still photography than cinema, frames scenes with a unique intimacy and a sense of historical artifact, as if each shot is a carefully preserved memory.
The film was shot digitally on the ARRI Alexa 35, leveraging its superior image quality, dynamic range, and ability to render subtle textures. However, Veloso’s true artistry lies in his minimalist lighting strategy. The film relies almost exclusively on natural light, complemented by real campfires and candles as practical light sources. This organic lighting approach imbues the film with a textured, authentic, and inherently soft glow, avoiding the artificiality of conventional studio lighting setups. The interplay of natural light and shadow, combined with the Alexa 35’s sensor capabilities, creates images that are rich in detail yet possess a dreamlike, almost ethereal quality. This meticulous attention to light and composition, along with the unique aspect ratio, allows "Train Dreams" to transcend a mere historical narrative, transforming it into a meditative exploration of memory, place, and the passage of time, captured with the evocative power of an old photograph.
Sentimental Value
Cameras Used: ARRICAM Lt 35mm
Joachim Trier’s "Sentimental Value" (2025), with cinematography by Kasper Tuxen, employs a sophisticated dual-format visual strategy to navigate its intricate themes of memory, family, and reconciliation. Tuxen, known for his nuanced and emotionally resonant work on Trier’s previous films like "The Worst Person in the World," demonstrates a keen understanding of how different film formats can articulate distinct narrative layers. The primary narrative, focusing on the present-day emotional landscape, is beautifully captured on 35mm Kodak film using the reliable ARRICAM Lt and Cooke 5/i lenses. The choice of 35mm film provides a classic cinematic look with rich colors, subtle grain, and a pleasing depth that enhances the emotional realism of the character interactions. Cooke lenses are celebrated for their "Cooke look," known for natural skin tones and a gentle sharpness that is often described as warm and organic.
To visually distinguish the film-within-a-film sequences and historical flashbacks, the production made a decisive shift to 16mm film. Furthermore, a bleach bypass process was applied to these 16mm sections. This chemical process, which retains silver in the emulsion along with the color dyes, results in a desaturated, high-contrast, and often grittier image. The effect visually ages these segments, giving them a "crustier, older look" that immediately communicates a shift in time and perspective. This dual-format approach is not merely a stylistic flourish; it is a fundamental narrative device, allowing the audience to instinctively differentiate between the film’s various temporal and emotional layers. Tuxen’s masterful manipulation of film formats and processes elevates "Sentimental Value" into a profound cinematic experience where the visual texture is as integral to the storytelling as the dialogue and performances.
Secret Agent
Cameras Used: ARRI Alexa 35
In "The Secret Agent," cinematographer Evgenia Alexandrova crafts a vibrant and oppressive palette to render the complex atmosphere of 1970s Brazil. Alexandrova’s work on this film is a testament to her ability to use color and light not just as aesthetic elements, but as powerful tools for storytelling and mood-setting. Shot primarily on the ARRI Alexa 35, the film benefits from the camera’s exceptional color rendition and dynamic range, which are crucial for Alexandrova’s saturated vision. The Alexa 35 was paired with vintage Panavision B Series anamorphic lenses, which impart a classic, widescreen cinematic feel with distinctive optical characteristics, including unique lens flares and a slightly softer image quality that adds to the film’s nostalgic yet unsettling tone.
Alexandrova’s cinematography embraces a "360-degree" philosophy, utilizing wide shots that meticulously capture the historical textures of Recife and São Paulo. This immersive approach allows the audience to fully absorb the socio-political environment of 1970s Brazil, grounding the narrative in a palpable sense of place and time. A defining characteristic of the film’s visual style is the use of saturated primary colors and a distinctive reddish undertone in the shadows. This specific color grading creates a "woozy," nostalgic heat, effectively conveying the oppressive climate and political tension of the era. The vibrant yet subtly desaturated hues contribute to an atmosphere that is both alluring and disquieting, reflecting the complexities and dangers faced by the characters. Alexandrova’s work on "The Secret Agent" is a powerful example of how cinematography can be used to build a rich, immersive world that is deeply intertwined with the film’s thematic concerns.
Sinners
Cameras Used: IMAX MSM 9802, MKIV, Panavision System 65
In Ryan Coogler’s "Sinners," cinematographer Autumn Durald Arkapaw crafts a gothic aesthetic that firmly anchors supernatural horror in a tangible, historical reality of the early 1900s South. Arkapaw, known for her collaborations with Coogler on films like "Black Panther" and "Creed," brings a meticulous approach to visual storytelling that deepens the narrative’s emotional and thematic weight. The film was shot entirely on IMAX-certified digital cameras, including the IMAX MSM 9802 and MKIV, along with the Panavision System 65. These large-format cameras were chosen for their unparalleled resolution and immersive qualities, allowing for an extraordinary level of detail and a truly grand scale.
Custom-tuned Panavision Specho spherical lenses were used, designed to provide a specific optical character that complemented the film’s gothic tone. "Sinners" notably utilizes an ultra-wide 1.43:1 aspect ratio for its most sequence-heavy and visually impactful moments. This expansive aspect ratio, optimized for IMAX screens, creates a profound sense of "towering dread," allowing the vast, oppressive landscapes and menacing architectural elements of the early 1900s South to dwarf the characters and amplify the supernatural threats.
Arkapaw’s lighting strategy is particularly striking, deliberately eschewing the common "Hollywood blue" of typical night scenes. Instead, she opted for a "true black" philosophy, where characters are frequently silhouetted against ambient firelight or the harsh, singular glare of period-accurate lanterns. This high-contrast approach creates a stark visual separation between the twin protagonists and the enveloping shadows that seemingly house the film’s monstrous threats. The profound contrast between subjects and their environment generates a pervasive uneasiness that permeates the entire film, enhancing the horror elements through an almost painterly manipulation of light and darkness. This masterful use of large format, specialized lenses, and innovative lighting establishes "Sinners" as a visually arresting and deeply unsettling horror experience.
Conclusion: Pushing the Boundaries of Visual Storytelling
The films celebrated at the 98th Academy Awards for their cinematography collectively demonstrate the vibrant and evolving landscape of visual storytelling in cinema. From the audacious practical effects in "F1" to the meticulously crafted period aesthetics of "One Battle After Another" and "Sinners," each project showcases a deliberate and innovative approach to the art of cinematography. Filmmakers are increasingly leveraging both cutting-edge digital technology and the timeless qualities of film stock, often blending them to achieve unique textural and emotional impacts. The emphasis on bespoke camera solutions, specific lens choices, and nuanced lighting strategies underscores a commitment to enhancing narrative through visual means. These cinematographic achievements not only captivated audiences but also pushed the boundaries of what is technically and artistically possible, setting new standards for the industry and inspiring future generations of visual storytellers. The detailed exploration of these techniques provides invaluable insight into the meticulous craft behind the magic of cinema.
Sources – American Cinematographer, Letiz-Cine, MotionPictures.org, Kodak
