The 98th annual Academy Awards ceremony, held this past weekend, served as a poignant culmination of a remarkable year in cinematic achievement, particularly in the realm of visual storytelling. Among the myriad categories recognizing excellence, the nominations for Best Cinematography stood out, showcasing an extraordinary convergence of artistic vision, technical prowess, and innovative filmmaking. This year’s selections highlighted a diverse array of films that pushed the boundaries of visual language, demonstrating how cinematography profoundly shapes narrative, emotion, and audience experience. From the intimate digital capture to grand-scale analog productions, the featured works underscore a vibrant period where filmmakers continue to harness cutting-edge technology and time-honored techniques to create truly memorable moments on screen.
The Enduring Significance of Cinematography at the Academy Awards
The Academy Award for Best Cinematography celebrates the director of photography’s crucial role in crafting the visual aesthetic of a film. This recognition is not merely about pretty pictures; it acknowledges the cinematographer’s ability to interpret a script visually, manage lighting, composition, color, and camera movement to evoke specific moods, underscore character development, and advance the narrative. Over the decades, this category has honored legends who have defined the look of cinema, from Gregg Toland’s deep focus in Citizen Kane to Roger Deakins’ groundbreaking digital work in 1917. The 98th Academy Awards continued this tradition, spotlighting a new generation of visual innovators and established masters who have left an indelible mark on the cinematic landscape of the past year. The breadth of technical approaches, from the revival of vintage film formats to the development of bespoke digital camera systems, reflects a dynamic industry where artistic ambition consistently drives technological advancement.
A Deeper Look into This Year’s Nominees and Winners: The Craft Behind the Lens
This year’s nominated films showcased a fascinating spectrum of cinematographic strategies, each meticulously designed to serve its unique narrative and thematic core. The following examination delves into the specific gear and artistic philosophies employed by the cinematographers behind these visually stunning productions.
Bugonia: Distorted Realities and Thematic Depth
Yorgos Lanthimos’s Bugonia continued his distinctive collaboration with cinematographer Robbie Ryan, further refining a visual language that mirrors the film’s central themes of obsession and paranoia. Building on their acclaimed work in Poor Things and The Favourite, Ryan’s cinematography in Bugonia made striking use of extreme wide-angle and fisheye lenses. This choice was not merely stylistic; it deliberately created a distorted, claustrophobic sense of reality for the audience, immersing them in the psychological disarray of the characters. The technical foundation for this vision included the use of both the Vistavision Wilcam W-11 and ARRIFLEX 435 & 435 HS cameras. The Vistavision format, historically prized for its larger negative size and high resolution, provided a canvas capable of rendering these extreme perspectives with exceptional detail, even as the lenses warped the image. The ARRIFLEX 435 series, renowned for its reliability and versatility in 35mm film production, offered the robustness needed for diverse shooting conditions. Ryan’s expert manipulation of these tools crafted an unsettling visual experience, expertly blurring the line between subjective perception and objective reality, a hallmark of Lanthimos’s cinematic style.
F1: High-Octane Innovation and Practical Effects
The cinematography of F1, led by Oscar-winning Claudio Miranda, marked a significant leap in practical action filmmaking, pushing the boundaries of what is achievable in high-speed environments. Miranda, known for his groundbreaking work on Top Gun: Maverick, faced the immense challenge of capturing authentic Formula 2 racing action. The production ingeniously opted for mounting real cameras onto custom-modified F2 cars, driven by stars Brad Pitt and Damson Idris, at speeds exceeding 150 mph. This ambitious approach necessitated innovative technical solutions. To maintain the cars’ aerodynamic integrity and ensure driver visibility, Miranda collaborated closely with Sony to develop "Carmen"—a bespoke, miniaturized 6K sensor-on-a-stick prototype. This specialized camera was approximately a quarter of the size of a standard cinema camera, allowing for discreet placement without impacting performance. The core camera system also included the Sony Venice 2, a high-end digital cinema camera known for its exceptional image quality and dynamic range, alongside the DJI Ronin 4D, a revolutionary all-in-one camera and gimbal system offering advanced stabilization. These high-tech rigs were strategically distributed across the car’s "halo" (the protective cockpit frame) and chassis, providing up to seven simultaneous angles. Crucially, these cameras featured full remote-controlled pan and tilt capabilities, allowing for dynamic adjustments in real-time, resulting in breathtaking and unprecedentedly immersive racing sequences. Miranda’s ingenuity effectively merged the visceral thrill of practical stunts with the precision of cutting-edge camera technology.
Hamnet: Intimate Observation and Ghostly Perspectives
Chloé Zhao’s Hamnet presented a strikingly intimate visual language, meticulously crafted by cinematographer Łukasz Żal, celebrated for his Academy Award-nominated work on Ida and Cold War. Żal’s approach embraced what he described as a "ghost camera" perspective—an observational, drifting lens that often felt like "death’s point of view." This technique involved a quietly moving, non-judgmental camera that scanned scenes with a subtle, yet profound, emotional weight. The film was primarily shot on the ARRI Alexa 35, a digital cinema camera lauded for its naturalistic image rendering, extended dynamic range, and exceptional color science. The Alexa 35’s ability to capture subtle nuances in light and shadow was instrumental in achieving Żal’s ethereal aesthetic, allowing the camera to linger and observe without imposing its presence. The intimate nature of the camera’s movement, often following characters or drifting through spaces, served to deepen the emotional resonance of the narrative, inviting the audience into the quiet suffering and profound love depicted in the film. Żal’s deliberate choices underscored the film’s themes of loss and memory with a tender, almost spiritual, visual sensitivity.
Frankenstein: Gothic Grandeur in Large Format
In Guillermo del Toro’s reimagining of Frankenstein, cinematographer Dan Laustsen deployed a sweeping, large-format visual style to modernize the gothic horror aesthetic while preserving its inherent moodiness. The film was shot entirely on the ARRI Alexa 65, a premium large-format digital camera known for its immense resolution and cinematic depth of field, paired with Leitz THALIA 65 lenses. Laustsen’s strategy leaned heavily on a 24mm wide-angle lens for nearly 90% of the shots, allowing for expansive compositions that emphasized the monstrous scale of the narrative and the dramatic environments. To counteract the inherent digital sharpness of the Alexa 65 and achieve a more classic, organic feel, Laustsen innovatively utilized custom Black Pro-Mist diffusion filters. These filters were uniquely placed behind the lens, a less common technique, which allowed them to subtly "burn out" highlights without significantly softening the overall image. This method preserved the deep, rich blacks crucial to the film’s moody, gothic atmosphere, creating a visual texture that was both modern in its clarity and classic in its evocative softness. The resulting imagery was a masterful blend of epic scale and nuanced detail, perfectly encapsulating del Toro’s distinctive vision.
Marty Supreme: Analog Texture and Psychological Isolation
Josh Safdie’s Marty Supreme saw cinematographer Darius Khondji deliberately eschew modern digital aesthetics in favor of a richly textured, "painterly" 35mm film look. Khondji, a renowned artist with a distinct visual signature, utilized Arricam LT, ST, and SR cameras, primarily loaded with Kodak Vision3 500T film. This choice of film stock, known for its cinematic grain structure and wide exposure latitude, contributed significantly to the film’s gritty, authentic texture. Complementing the film stock were vintage Panavision B and C Series anamorphic lenses, which imparted unique optical characteristics—such as distinctive lens flares and elongated bokeh—that further enhanced the film’s classic, raw aesthetic. Khondji’s visual strategy was characterized by an emphasis on tight telephoto shots, employing exceptionally long lenses (up to 360mm) to capture suffocating, expressive close-ups of Timothée Chalamet’s character. This telephoto approach created an extremely shallow depth of field, isolating Marty from his environment and making him appear "larger than life" while simultaneously simulating an observational, almost voyeuristic, feel to his challenges in the table tennis world. The combination of film, vintage lenses, and extreme telephoto framing resulted in a deeply immersive and psychologically resonant visual experience.
One Battle After Another: Revisiting Classic Aesthetics
One Battle After Another, a standout for its commitment to historical aesthetics, effectively revived the VistaVision format to capture a gritty, 1970s-inspired political thriller. The film embraced a 1.50:1 aspect ratio, shot with large negative spacing throughout, drawing direct inspiration from seminal 1970s classics like The French Connection. To achieve a specific textural quality reminiscent of that era, Panavision’s renowned optical engineer Dan Sasaki developed a custom set of prototype spherical lenses, affectionately dubbed "GWs." These lenses were meticulously designed to emulate the unique optical characteristics of the glass used by legendary cinematographer Gordon Willis, known for his iconic work on films like The Godfather Part II and All the President’s Men. The cameras used included the Beaumont Vistavision and the Panavision Millennium XL2. The VistaVision format, a horizontal 8-perforation 35mm system, allowed for a larger negative area and thus finer grain and richer detail, contributing to the film’s timeless quality. The combination of this specific format, custom-designed lenses, and a deliberate aesthetic choice to highlight detailed California landscapes alongside suffocating, long-lens close-ups, created a modern masterpiece that felt authentically rooted in the cinematic language of the 1970s and 80s.
Train Dreams: Evoking Memory Through Light and Aspect Ratio
Adolpho Veloso’s cinematography for Train Dreams meticulously crafted a visual language rooted in "photographic memory," utilizing a rare 3:2 aspect ratio to evoke the feel of vintage still portraits from the early 20th century. This unconventional aspect ratio immediately set the film apart, framing its characters and environments with a deliberate compositional formality. The film was shot digitally on the ARRI Alexa 35, leveraging its exceptional low-light capabilities and faithful color reproduction. A cornerstone of Veloso’s approach was the almost exclusive reliance on natural light, complemented only by real campfires and candles as practical lighting sources. This commitment to organic illumination imparted a deeply textured, raw, and authentic feel to the film, enhancing its historical setting and the characters’ connection to their environment. The absence of artificial light sources allowed for a subtle interplay of light and shadow, creating images that felt painterly and evocative, perfectly aligning with the film’s themes of memory, nature, and the passage of time. The ARRI Alexa 35’s sensitivity allowed Veloso to capture these delicate lighting conditions with remarkable clarity and depth, preserving the organic texture he sought.
Sentimental Value: Dual-Format Storytelling for Narrative Depth
In Joachim Trier’s Sentimental Value (2025), cinematographer Kasper Tuxen employed a sophisticated dual-format visual strategy to navigate the film’s 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. The Arricam LT, a workhorse in film production, provided the robust platform for recording the rich texture and organic feel of 35mm film, while the Cooke 5/i lenses, known for their warm, pleasing rendition of skin tones and naturalistic contrast, lent a classic cinematic look to the main story. To visually distinguish the film-within-a-film sequences and historical flashbacks, the production made a deliberate shift to 16mm film, further enhancing its distinct appearance by applying a bleach bypass process. This technique, which involves skipping or reducing the bleach step during film processing, results in a higher contrast, more desaturated, and often grainier image. The effect was a "crustier, older look" that immediately signaled a different temporal and narrative layer, immersing the audience in the characters’ fragmented memories and cinematic explorations of their past. Tuxen’s innovative use of varying film stocks and processing techniques was a masterclass in using visual style to deepen narrative complexity.
Secret Agent: Vibrant Palettes and Historical Immersion
Evgenia Alexandrova’s cinematography for The Secret Agent utilized a vibrant and distinctive palette to render the oppressive yet culturally rich atmosphere of 1970s Brazil. Shot primarily on the ARRI Alexa 35 and paired with vintage Panavision B Series anamorphic lenses, Alexandrova’s work leaned into a "360-degree" philosophy. This approach involved extensive wide shots that meticulously captured the historical textures and sprawling urban landscapes of Recife and São Paulo, immersing the viewer in the period and setting. The use of anamorphic lenses contributed to a widescreen, cinematic feel, with characteristic oval bokeh and horizontal lens flares that added to the film’s nostalgic aesthetic. Alexandrova’s lighting and color strategy were particularly notable: she employed saturated primary colors and a distinctive reddish undertone in the shadows, creating a "woozy," nostalgic heat that permeated the visual landscape. This specific color grading and lighting choice not only evoked the historical period but also subtly mirrored the political tension and emotional fervor of the narrative, making the visual style an integral part of the storytelling.
Sinners: IMAX Scale and Gothic Dread
In Ryan Coogler’s Sinners, cinematographer Autumn Durald Arkapaw crafted a powerful gothic aesthetic, anchoring supernatural horror in a tangible, historical reality. 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 systems were chosen for their unparalleled resolution and ability to project an imposing scale. Paired with custom-tuned Panavision Specho spherical lenses, the film utilized an ultra-wide 1.43:1 aspect ratio for its most sequence-heavy moments. This expansive framing created an overwhelming sense of "towering dread," particularly in its depiction of the early 1900s American South. Durald Arkapaw’s lighting strategy deliberately avoided the "Hollywood blue" often seen in typical night scenes, opting instead for a "true black" philosophy. In many sequences, characters were starkly silhouetted against firelight or the harsh, singular glare of period-accurate lanterns. This high-contrast approach visually separated the twin protagonists from the encroaching shadows that seemingly housed the film’s monstrous threats. The stark interplay between subjects and their dimly lit environments generated a pervasive uneasiness, making the visual tension a constant undercurrent throughout the entire film.
The Evolving Craft: Trends and Innovations in Cinematography
This year’s nominations underscore several significant trends in contemporary cinematography. The resurgence of film, particularly 35mm and even formats like VistaVision, signals a renewed appreciation for analog aesthetics, grain structure, and the tactile quality that film stocks offer. Cinematographers like Darius Khondji and the team behind One Battle After Another are consciously choosing film to evoke specific historical periods or psychological states, demonstrating that film remains a vital artistic choice despite the dominance of digital.
Simultaneously, large-format digital cinematography continues its ascendancy. The ARRI Alexa 35 and Alexa 65 were prominent choices, favored for their immense resolution, dynamic range, and flexibility. These cameras, when paired with custom or vintage lenses, offer a unique blend of modern fidelity and classic character, allowing cinematographers like Dan Laustsen and Autumn Durald Arkapaw to create visually rich and immersive worlds.
Another defining characteristic is the continuous innovation in camera technology and rigging. Claudio Miranda’s "Carmen" prototype for F1 exemplifies the industry’s drive to develop bespoke solutions for unprecedented shooting challenges. The integration of advanced gimbals like the DJI Ronin 4D further enhances creative possibilities, allowing for dynamic camera movements previously deemed impossible.
Finally, the emphasis on artistic intention behind technical choices remains paramount. Whether it’s Łukasz Żal’s "ghost camera" for Hamnet, Robbie Ryan’s extreme wide angles for Bugonia, or Adolpho Veloso’s unique aspect ratio for Train Dreams, each cinematographer meticulously selected their tools and techniques to serve the narrative, evoke emotion, and create a distinct visual identity for their respective films. The blend of cutting-edge technology with profound artistic vision is what truly elevates these works, ensuring that cinematography remains at the heart of cinematic art.
Conclusion
The 98th Academy Awards celebrated a year of exceptional cinematography, showcasing the diverse and innovative approaches that continue to define the art form. From the visceral realism of high-speed action to the subtle poetry of historical dramas, the nominated films were a testament to the power of visual storytelling. The work presented by these cinematographers not only captivated audiences but also pushed the boundaries of what is technically and artistically possible. As the industry evolves, driven by both technological advancements and a deep reverence for cinematic history, the craft of cinematography stands as a vibrant, essential pillar of filmmaking, continually enriching our experience of the moving image.
Sources – American Cinematographer, Letiz-Cine, MotionPictures.org, Kodak
