The 2020 group of Best Cinematography nominees are composed of a three-time winner, a three-time nominee, a one-time winner (15-time nominee), and two first-time nominees. It is mostly a respectable group. I can’t say there aren’t others I would like to see represented here, but it’s not a bad group.
Best Cinematography is shaping up to be an exciting, if not predictable, category in 2018. A couple of bits of trivia. Roger Deakins, the front-runner, has been nominated for Oscars 14 times in the past and has never won. The man essentially invented the way movies are color graded today, so he kind of deserves the recognition.
Correct me if I’m wrong, but I believe the nomination for Rachel Morrison for Mudbound marks the first time in Academy history that a woman has been nominated for Best Cinematography. I remember at some point in my academic career I was given a statistic that the number of employed female DPs in Hollywood only make up about 3% of DPs (don’t quote me on this exact number). It is surprising how the world of cinematographers is still a boy’s club, and thus this nomination for Morrison is a pretty big deal.
So…should we talk winners and losers now?
There are plenty of well-shot movies that come out every year. 2017 was no different, which makes narrowing down just five movies for Best Cinematography an arduous task. But I’m going to do it anyway!
Caution: This review makes mention of two key plot points of Blade Runner 2049 that may be construed as “spoilers,” even though both are pieces of plot information that are introduced early on in the film. Either way, Denis Villeneuve reportedly asked critics not to reveal any plot points of the film, so I guess you’ve been warned.
It has been 35 years since Ridley Scott’s Blade Runner, a dystopian urban image of a world in which people are hired to hunt down and “retire” artificial beings known as Replicants. Based on, if only in its philosophical quandaries, Philip K. Dick’s novel Do Androids Dream of Electric Sheep?, the film questioned where the line between humanity and artificiality is.
The script of Blade Runner 2049 from Hampton Fancher and Michael Green continues this existential exploration. The film, directed by Denis Villeneuve, whose cinematic visions have only grown in terms of visuals and heady ideas, follows a new Blade Runner code-named K (Ryan Gosling) as he stumbles upon Continue reading Blade Runner 2049 (2017) Movie Review
This is one of my personal favorite categories. Cinematography is the infrastructure of the art of cinema. When a film is beautiful you just know. There’s just something about it that strikes you. That’s probably cinematography awing you with miraculous shots.
2015 was no slouch when it came to cinematography. Lush films dominated the year. Every film in this category is beautiful. But, of course, there can be only one.
The Academy released their list of Oscar nominees this morning, and, as per usual, it is cause for many a reactionary blog post. This post is not unlike the rest.
Here are my reactions to some of the nominations (and notable absences from them).