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David Lean holds the record for the director with the most films that won the Academy Award for Best Cinematography at the Oscars with five wins out of six nominations for Great Expectations, The Bridge on the River Kwai, Lawrence of Arabia, Doctor Zhivago, and Ryan's Daughter. The first nominees shot primarily on digital video were The Curious ...
Mar 28, 2021 · All best cinematography Oscar Winners. 2022 - James Friend, All Quiet on the Western Front. 2021 - Greig Fraser, Dune. 2020 - Erik Messerschmidt, Mank. 2019 - Roger Deakins, 1917. 2018 - Alfonso Cuarón, Roma. 2017 - Roger Deakins, Blade Runner 2049. 2016 - Linus Sandgren, La La Land.
Apr 19, 2024 · Here is a comprehensive list of all the Oscar winners for Best Cinematography since the category was first introduced in 1928: 2023: - Hoyte Van Hoytema - Oppenheimer. 2022: James Friend - All Quiet on the Western Front. 2021: Greig Fraser – Dune. 2020/21: Erik Messerschmidt – Mank. 2019: Roger Deakins – 1917.
- 24 'Memoirs of A Geisha'
- 23 'Avatar'
- 22 'All Quiet on The Western Front'
- 21 'Crouching Tiger, Hidden Dragon'
- 20 'Master and Commander: The Far Side of The World'
- 19 'Mank'
- 18 'Pan’S Labyrinth'
- 17 'Hugo'
- 16 'Slumdog Millionaire'
- 15 'The Aviator'
What Should Have Won: 'The New World'
Cinematographer Dion Beebe’s work here definitely isn’t bad, it’s just pretty forgettable—much like the film itself. Memoirs of a Geisha was director Rob Marshall’s follow-up to his Oscar-winning take on Chicago, but the film kind of evaporated into thin air. Beebe’s use of light is most notable here, but yeah, beyond that this one’s just kind of fine. Rent on Amazon
What Should Have Won: 'Inglourious Basterds'
Okay yes, Avatar is groundbreaking, but on a pure cinematography level, Mauro Fiore’s work here is just alright. Really this award feels like it was more for the technical achievement of the performance capture and all-CG scenes, which is fine, but if we’re talking the art of photography here the images that Fiore and James Cameronconjure are actually fairly basic. Again, though, the win here is understandable given how this film paved the way for shooting performance-capture actors and all-C...
What Should Have Won: 'TÁR'
War films are often nominated, but surprisingly rarely win in this category, as the two previous winners before All Quiet on the Western Front were 1971 and Saving Private Ryan. James Friend's work for Edward Berger's film certainly owes a lot to both of those films, using similar tactics to approach the "war is hell" messaging of this film. That's not to say that Friend's cinematography isn't award-worthy, as All Quiet is often stunning in the horrors it's showing, but it's hard to imagine t...
What Should Have Won: 'O Brother, Where Art Thou?'
Peter Pau’s work in Crouching Tiger, Hidden Dragon is most notable for its fluidity, as director Ang Lee captures his actors’ high-flying stunts. And it’s cool and beautiful and neat, but in direct contrast to Roger Deakins’ groundbreaking work on O Brother, Where Art Thou?which experimented with the photochemical process to stunning results, it falls way, way short. Rent on Amazon
What Should Have Won: 'Master and Commander: The Far Side of the World'
Director Peter Weir’s Master and Commander: The Far Side of the World is a vastly underrated film, but it’s nice to know the movie came away with a win in this category. Shooting on the open water is notoriously difficult, but cinematographer Russell Boydmanages to bring this sea-set adventure to life in a way that puts the audience right on the ship. The foggy frame mimics the solitary nature of the crew’s position, and the ship battles are brought to life with vivacity and gusto. Rent on Am...
What Should Have Won: 'Nomadland'
Nominated and winning for his first film, Erik Messerschmidt's work in David Fincher's Mank is a fairly demanding debut. Not only is working with Fincher a major accomplishment in and of itself, but Messerschmidt had to often recreate various techniques used by Orson Welles in Citizen Kane as a way to bridge the story of the writer behind the film with the film itself. Mank has been criticized for its slow pace since its release, but in every frame, Messerschmidt is doing incredible work, and...
What Should Have Won: 'Children of Men'
Guillermo del Toro’s masterful fairy tale Pan’s Labyrinth marked a somewhat surprising choice for this award in 2006, but the filmmaker’s longtime cinematographer Guillermo Navarro did excellent work. The use of color in particular is swell, as is the fluid motion of the camera that keeps the audience engaged. And yet, going up against Emmanuel Lubezki’s phenomenal work in Children of Men, it feels like the Academy got this one wrong. Rent on Amazon
What Should Have Won: 'The Tree of Life'
Hugo was a film of firsts for director Martin Scorsese. It was not only his first film made specifically for younger audiences, but also his first time working with the 3D format. The film historian that he is, Scorsese doesn’t simply use 3D as a gimmick here, and in working with cinematographer Robert Richardsonfinds intriguing and exciting ways to use the 3D format to underline basic principles of filmmaking. This goes hand in hand with the film’s subject matter, which deals with the early...
What Should Have Won: 'The Dark Knight'
Cinematographer Anthony Dod Mantle made a name for himself with the Dogme 95 movement, bringing experimental filmmaking to life in exciting new ways. He continued pushing the boundaries of vérité with director Danny Boyle on 28 Days Later, but their collaboration on Slumdog Millionaire remains their most striking and impressive to date. This is a film that feels alive thanks to Mantle’s active, aggressive camera, and it serves the story and characters tremendously well. Watch on Hulu
What Should Have Won: 'The Aviator'
The Aviator is the kind of movie you get when one of the greatest film historians of all time also happens to be one of the greatest filmmakers of all time. In telling the story of Howard Hughes, director Martin Scorsese and cinematographer Robert Richardsondecided to capture each era of Hughes’ life in the manner in which films were made during that particular period, recreating the look of early bipack color films as well as three-strip Technicolor. This is nirvana for cinephile nerds, and...
- Adam Chitwood
1931–32: Lee Garmes (Shanghai Express) 1932–33: Charles Bryant Lang, Jr. (A Farewell to Arms) 1934: Victor Milner (Cleopatra) 1935: Hal Mohr (A Midsummer Night’s Dream) 1936: Gaetan Gaudio (Anthony Adverse); Special Award: W. Howard Greene and Harold Rosson for the color cinematography of The Garden of Allah.
- The Editors of Encyclopaedia Britannica
The 92nd Academy Awards | 2020. Dolby Theatre at the Hollywood & Highland Center. Sunday, February 9, 2020. Honoring movies released in 2019.
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Best Cinematography Oscar. 1. Road to Perdition (2002) Road to Perdition” is a 2002 American crime film directed by Sam Mendes. The film is based on the graphic novel of the same name by Max Allan Collins and Richard Piers Rayner.
