The 98th annual Academy Awards ceremony recently concluded, shining a spotlight on a remarkable year for cinematic artistry, particularly within the realm of cinematography. This past season showcased an extraordinary array of films, distinguished not only by compelling narratives and performances but also by groundbreaking visual achievements that pushed the boundaries of filmmaking. The consistent elevation of visual storytelling has captivated audiences and critics alike, underscoring the vital role of the cinematographer in shaping a film’s emotional resonance and aesthetic identity. As the curtain falls on another awards cycle, this analysis delves into the technical mastery and innovative gear employed by the visionaries behind some of the year’s most memorable and impactful images, revealing the sophisticated tools and creative philosophies that defined their masterpieces.
The Academy Awards, established in 1929, have long served as the pinnacle of recognition for cinematic achievement, with the Best Cinematography category honoring the artists who meticulously craft a film’s visual language. Over the decades, this award has evolved from acknowledging black-and-white and color films separately to a unified category that celebrates the most compelling visual narratives regardless of format. The 98th iteration continued this legacy, presenting a diverse slate of nominees that collectively illustrated the dynamic interplay between artistic vision and technological advancement. From the resurgence of vintage film formats to the development of bespoke digital camera systems, the tools and techniques employed this year reflected a rich tapestry of approaches aimed at immersing viewers deeper into the cinematic experience. The selection process for this prestigious award often involves a rigorous evaluation of how cinematographers utilize light, shadow, composition, camera movement, and color to enhance storytelling and evoke specific moods, making it one of the most keenly observed categories by industry professionals.
Bugonia: Distorted Realities and Psychological Landscapes
Director Yorgos Lanthimos, in his latest feature Bugonia, continued his distinctive collaboration with cinematographer Robbie Ryan, crafting a visual language that mirrors the film’s themes of obsession and paranoia. Building on their acclaimed work in Poor Things and The Favourite, the cinematography of Bugonia is characterized by its audacious use of extreme wide-angle and fisheye lenses. This stylistic choice creates a perpetually distorted and claustrophobic sense of reality, effectively drawing the audience into the protagonist’s fragmented psychological state. The deliberate manipulation of perspective serves not merely as an aesthetic flourish but as a powerful narrative device, making viewers question their own perception in a uniquely unsettling yet captivating manner.
For Bugonia, the filmmakers deployed a combination of classic and contemporary camera technology. The Vistavision Wilcam W-11, a large-format film camera, was utilized alongside the more modern ARRIFLEX 435 and 435 HS cameras. The choice of VistaVision, a format renowned for its high resolution and widescreen capabilities, particularly when paired with the distorting wide lenses, allowed for a distinctive visual texture that enhanced the film’s surreal atmosphere. Robbie Ryan’s preference for these specific tools, as inferred from industry discussions, stems from their ability to capture images with both exquisite detail and a palpable sense of unease, perfectly aligning with Lanthimos’s idiosyncratic directorial vision. The combination of vintage film aesthetics with precise modern control offered a unique palette for rendering the film’s complex psychological landscape.
F1: Redefining High-Speed Action Cinematography
The much-anticipated F1 film represents a monumental leap in practical action filmmaking, spearheaded by Oscar-winning cinematographer Claudio Miranda. Building upon the groundbreaking techniques he pioneered for Top Gun: Maverick, the production pushed the boundaries of on-location shooting by mounting real cameras directly onto custom-modified Formula 2 cars driven by stars Brad Pitt and Damson Idris. The sheer audacity of capturing footage at speeds exceeding 150 mph presented unprecedented technical challenges, requiring ingenious solutions to maintain car aerodynamics and driver visibility while achieving cinematic quality.
To overcome these hurdles, Miranda collaborated extensively with Sony to develop a bespoke, miniaturized 6K sensor-on-a-stick prototype known as “Carmen.” This innovative camera, approximately a quarter of the size of a standard cinema camera, was instrumental in capturing the intense, visceral racing sequences without compromising performance or safety. Complementing the Carmen prototype, the film also utilized the advanced Sony Venice 2 8K digital motion picture camera and the versatile DJI Ronin 4D. 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. The result is a level of immersion in high-speed action that sets a new benchmark for the genre. Miranda’s team, according to industry reports and technical deep dives, meticulously planned every camera placement to ensure maximum dynamic range and minimal obstruction, demonstrating a commitment to practical effects that yielded spectacular and authentically thrilling cinematography. This project exemplifies how technological collaboration between cinematographers and manufacturers can drive significant advancements in filmmaking capabilities.
Hamnet: An Observational Gaze into Grief and Memory
Chloé Zhao’s Hamnet features a strikingly intimate visual language, meticulously crafted by cinematographer Lukasz Zal, renowned for his Academy Award-nominated work on Ida and Cold War. The cinematography here embraces a "ghost camera" perspective – an observational, drifting lens described by Zal as "death’s point of view." This approach allows the camera to scan scenes with a quiet, non-judgmental weight, offering an ethereal and poignant exploration of the film’s themes of loss, memory, and the unspoken grief within a family.
Shot primarily on the ARRI Alexa 35, a camera celebrated for its exceptional dynamic range and color science, Zal’s choice underscored his dedication to capturing subtle emotional nuances. The Alexa 35’s ability to render delicate gradations of light and shadow, combined with its naturalistic color reproduction, was crucial for conveying the film’s somber yet beautiful atmosphere. The camera’s compact size and robust build also facilitated the fluid, often handheld, movements that define the "ghost camera" style, allowing Zal to achieve an intimate proximity to the characters without disrupting the delicate performances. This technical pairing enabled a visual poetry that supports Zhao’s contemplative narrative, reflecting a profound understanding of how visual elements can amplify emotional depth.
Frankenstein: Modernizing Gothic Horror with Large Format Grandeur
In Guillermo del Toro’s Frankenstein, cinematographer Dan Laustsen deployed a sweeping, large-format visual style to modernize the classic gothic horror aesthetic. Their long-standing collaboration, previously seen in visually stunning works like The Shape of Water, ensures a consistent and distinctive visual signature. The film was shot entirely on the ARRI ALEXA 65 with Leitz THALIA 65 lenses, a combination celebrated for its unparalleled resolution and cinematic depth. Laustsen’s approach relied heavily on a 24mm wide-angle lens for nearly 90% of its shots, creating expansive yet often unsettling frames that emphasize the scale of the monstrous and the vulnerability of the human.
To soften the inherent digital sharpness of the ALEXA 65 and achieve a more organic, period-appropriate texture, Laustsen ingeniously utilized custom Black Pro-Mist diffusion filters placed behind the lens. These filters, as described in industry interviews, "burn out" highlights while meticulously preserving the deep, rich blacks essential to the film’s moody and foreboding atmosphere. This technique allowed for a blend of high-definition clarity with a classic, film-like softness, ensuring that the digital capture retained the tactile quality often associated with traditional gothic cinema. The choice of large format also provided the flexibility to capture intricate details of del Toro’s creature designs and set pieces, immersing the audience in a world of both monstrous beauty and profound terror.
Marty Supreme: The Painterly Return of 35mm Film
Josh Safdie’s Marty Supreme, with cinematographer Darius Khondji, represents a deliberate disregard for modern digital aesthetics in favor of a richly textured, "painterly" 35mm look. This artistic choice reflects a growing trend among certain filmmakers to return to the tactile qualities and unique imperfections of film stock. Shot primarily on Arricam LT and ST cameras using Kodak Vision3 500T film, the production further embraced a vintage aesthetic by utilizing Panavision B and C Series anamorphic lenses. These lenses, known for their distinctive oval bokeh and subtle optical aberrations, contribute significantly to the film’s unique character.
Khondji’s visual strategy centers on tight telephoto shots, employing exceptionally long lenses (up to 360mm) to capture suffocating, expressive close-ups of Timothée Chalamet. This telephoto approach creates a shallow depth of field that isolates the protagonist, Marty, from his environment, making him appear "larger than life" while simultaneously simulating the observational feel of his challenges in the high-stakes world of table tennis. The use of 35mm film, combined with these specific lenses and focal lengths, imparts a sense of immediacy and intimacy, blurring the line between viewer and subject. Industry experts infer that Khondji’s choice was a conscious effort to evoke a sense of raw, unfiltered emotion, reminiscent of classic character studies, demonstrating that sometimes, older technologies can yield the most innovative artistic results.
One Battle After Another: VistaVision’s Resurgence for a 70s Thriller
A standout on many critics’ lists, One Battle After Another revives the venerable VistaVision format to capture a gritty, 1970s-inspired political thriller. The film’s aesthetic is a deliberate homage to the cinematic language of the era, particularly drawing inspiration from classics like The French Connection. Shot with a 1.50:1 aspect ratio and large negative spacing, the cinematography imbues the film with an authentic period texture and a broad canvas for its intricate narrative.
To achieve this specific texture and optical character, Panavision’s legendary lens designer Dan Sasaki 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 the iconic cinematographer Gordon Willis, known for his groundbreaking work on films like The Godfather Part II and All the President’s Men. The film’s visual strategy highlights detailed California landscapes, juxtaposed with suffocating, long-lens close-ups that immerse the audience in the tension of the narrative. The combination of the Beaumont VistaVision camera and the Panavision Millennium XL2 allowed for a unique blend of vintage large-format capture with modern film camera reliability. This technical and artistic decision, as inferred from director and cinematographer interviews, aimed to create a modern masterpiece that simultaneously feels like a rediscovered classic from the 1970s or 1980s, bridging temporal gaps through visual authenticity.
Train Dreams: Photographic Memory and Naturalistic Light
In Train Dreams, cinematographer Adolpho Veloso crafts a visual language deeply 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 unique framing choice immediately transports the audience to a bygone era, emphasizing the film’s historical context and the enduring power of its narrative. The film was shot digitally on the ARRI Alexa 35, yet its aesthetic leans heavily into a naturalistic, organic feel.
Veloso’s approach was characterized by an almost exclusive reliance on natural light, supplemented only by practical sources like real campfires and candles. This commitment to ambient lighting conditions imbues the film with a textured, raw authenticity, allowing the environment itself to shape the visual narrative. The Alexa 35’s exceptional low-light performance and ability to render subtle shifts in natural light were critical to achieving this effect. This intentional restraint in lighting, combined with the distinctive aspect ratio, creates a visual experience that feels both historically accurate and deeply personal. It speaks to a philosophy where the camera serves as a silent observer, capturing moments with the timeless quality of an old photograph, a technique that Veloso, as discussed in professional circles, expertly employs to enhance the film’s contemplative and historical themes.
Sentimental Value: Dual-Format Storytelling for Memory and Reconciliation
Joachim Trier’s Sentimental Value (2025), with cinematographer Kasper Tuxen, employs a sophisticated dual-format visual strategy to navigate its complex themes of memory, family, and reconciliation. This approach allows for a distinct visual demarcation between different narrative threads, enhancing the audience’s understanding of the film’s temporal and emotional shifts. The primary narrative is captured on 35mm Kodak film using the Arricam LT and Cooke 5/i lenses, imbuing these segments with a classic, rich cinematic texture and warmth.
To distinguish the film-within-a-film sequences and historical flashbacks, the production made a deliberate shift to 16mm film, further enhancing its vintage appeal with the addition of a bleach bypass process. This technique, which partially or entirely omits the bleaching stage during film processing, results in a higher contrast image with desaturated colors, giving these segments a "crustier," older, and often more stark appearance. This visual contrast effectively signals to the audience a shift in time or narrative perspective, reinforcing the film’s exploration of layered memories. Tuxen’s strategic use of different film formats and processing techniques, as inferred from interviews about his craft, demonstrates a deep understanding of how film stock characteristics can serve as powerful narrative tools, adding layers of meaning to the storytelling.
Secret Agent: Vibrant Palettes for Oppressive Atmospheres
In The Secret Agent, cinematographer Evgenia Alexandrova uses a vibrant and often saturated palette to render the oppressive atmosphere of 1970s Brazil. This bold visual choice creates a striking contrast between the country’s natural beauty and the political turmoil of the era. Shot primarily on the ARRI Alexa 35 and paired with vintage Panavision B Series anamorphic lenses, the cinematography embraces a "360-degree" philosophy, utilizing wide shots that capture the rich historical textures of Recife and São Paulo. This immersive approach places the audience directly within the bustling, often chaotic environments of the period.
Alexandrova’s distinctive style includes the use of saturated primary colors and a noticeable reddish undertone in the shadows, creating a "woozy," nostalgic heat that pervades the film. This particular color grading not only evokes the specific visual aesthetic of 1970s cinema but also subtly communicates the underlying tension and discomfort of the setting. The vintage anamorphic lenses further contribute to this aesthetic, adding characteristic flares and a unique depth of field that enhance the film’s period authenticity. The inferred intent behind Alexandrova’s choices, as discussed in industry critiques, was to create a sensory experience that is both visually captivating and emotionally resonant, pulling viewers into the vibrant yet volatile heart of 1970s Brazil.
Sinners: IMAX Scale for Gothic Dread
Ryan Coogler’s Sinners, with cinematographer Autumn Durald Arkapaw, crafts a gothic aesthetic that firmly anchors supernatural horror in a tangible, historical reality. This ambitious project was shot entirely on IMAX-certified digital cameras, specifically the IMAX MSM 9802 and MKIV, complemented by the Panavision System 65 and custom-tuned Panavision Specho spherical lenses. The film leverages an ultra-wide 1.43:1 aspect ratio for its most sequence-heavy moments, a choice that generates a profound sense of "towering dread" in its early 1900s Southern setting. The sheer scale of IMAX not only provides breathtaking visuals but also amplifies the feeling of vulnerability against the expansive, often menacing, backdrop.
Durald Arkapaw’s lighting strategy is particularly notable for its rejection of the conventional "Hollywood blue" often used for night scenes. Instead, she opts for a "true black" philosophy, where characters are frequently silhouetted against firelight or the harsh, singular glare of period-accurate lanterns. This high-contrast approach creates a visually stark separation between the twin protagonists and the enveloping shadows that seemingly house the film’s monstrous threats. The deliberate use of deep blacks and sharp highlights, as noted in expert analyses of the film’s visual style, intensifies the uneasiness and suspense throughout the entire film, making the unseen as terrifying as the revealed. This sophisticated use of light and shadow, combined with the immersive IMAX format, underscores Arkapaw’s mastery in crafting a terrifying yet visually stunning horror experience.
Broader Impact and Implications: A New Era of Visual Storytelling
The films celebrated at the 98th Academy Awards collectively illustrate a fascinating crossroads in cinematic technology and artistic intent. The diverse array of camera choices, from the vintage charm of VistaVision and 35mm film to the cutting-edge capabilities of 8K digital and IMAX formats, reflects an industry that is both reverent of its past and relentlessly innovative.
The emphasis on practical effects and custom camera development, as seen in F1, signals a continued drive to push the boundaries of immersive action sequences, challenging the reliance on purely digital solutions. This trend suggests a renewed appreciation for tangible, in-camera realism that enhances audience engagement. Conversely, the deliberate return to film stock in features like Marty Supreme and Sentimental Value highlights a counter-movement, a yearning for the organic textures and unique imperfections that digital capture, despite its advancements, still struggles to replicate entirely. Cinematographers are increasingly making nuanced choices about their medium, recognizing that film stock can be a powerful artistic tool, conveying specific moods and period authenticity in ways digital cannot.
The prevalence of large-format digital cameras like the ARRI Alexa 65 and IMAX systems in films such as Frankenstein and Sinners points to an ongoing demand for unparalleled resolution and depth. These cameras offer filmmakers expansive canvases, allowing for incredibly detailed imagery and immersive wide shots that redefine the cinematic experience, particularly in genres like gothic horror where atmosphere is paramount. The meticulous attention to lighting, aspect ratios, and custom lens development across all featured films underscores the fact that cinematography is not merely about capturing images but about crafting a precise visual language that is integral to storytelling.
These trends collectively indicate a future where cinematographers wield an even greater influence in shaping a film’s identity, leveraging a sophisticated understanding of both historical techniques and emerging technologies. The dialogue between artistry and engineering continues to evolve, promising even more visually spectacular and narratively compelling films in the years to come. The industry’s embrace of such diverse techniques ensures a rich and varied landscape for visual storytelling, reinforcing the cinematographer’s role as a true artist, blending technical prowess with creative vision to transport audiences into new worlds.
The 98th Academy Awards season has undeniably set a high standard for cinematic excellence, particularly in the art of cinematography. The films discussed herein are testaments to the extraordinary talent and relentless innovation of their respective cinematographers and creative teams. Through a meticulous blend of cutting-edge technology and time-honored techniques, these artists have not only captured stunning images but have profoundly enriched the narratives they serve. The commitment to pushing artistic and technical boundaries ensures that the magic of the movies will continue to evolve, offering ever more immersive and unforgettable visual experiences.
Sources – American Cinematographer, Leitz-Cine, MotionPictures.org, Kodak
