Thursday 27 January 2022

Best Cinematography

1931:
  1. Fritz Arno Wagner - M
  2. Floyd Crosby - Tabu
  3. Arthur Edeson -  Frankenstein
  4. Edgar Brasil - Limite
  5. Georges Perinal - A Nous La Liberte
1932:
  1. Rudolph Maté - Vampyr
  2. Jules Kruger - Wooden Crosses
  3. Georges Périnal - The Blood of a Poet
  4. Lee Garmes - Shanghai Express
  5. Joseph Walker - American Madness
1933:
  1. William Daniels - Queen Christina
  2. Karl Vash & Fritz Arno Wagner - The Testament of Dr. Mabuse
  3. Arthur Edeson - The Invisible Man
  4. Eddie Linden, Vernon Walker & J.O. Taylor - King Kong
  5. Armand Thirard - La Tête D’un Homme
1934:
  1. Jules Kruger - Les Miserables
  2. John J. Mescall - The Black Cat
  3. Hideo Shigehara - A Story of Floating Weeds
  4. Victor Milner - Cleopatra
  5. Harold Wenstrom - The Lost Patrol
1935: 
  1. John J. Mescall - Bride of Frankenstein
  2. Gregg Toland - Mad Love
  3. Hal Mohr - A Midsummer's Night's Dream
  4. Joseph H. August - The Informer
  5. Allen G. Siegler - The Black Room
1937:
  1. Christian Matras - Grand Illusion
  2. William C. Mellor - Make Way For Tomorrow
  3. Joseph Walker & Elmer Dyer - Lost Horizon
  4. Jules Kruger & Marc Fossard - Pepe Le Moko
  5. James Wong Howe - The Prisoner of Zenda
1938:
  1. Eduard Tisse - Alexander Nevsky
  2. Eugen Schüfftan - Port of Shadows
  3. Sol Polito - Angels With Dirty Faces 
  4. Marcel Lucien - Les Disparus de Saint-Agil 
  5. William Daniels - Marie Antoinette
1942:
  1. Stanley Cortez - The Magnificent Ambersons
  2. Arthur Edeson - Casablanca
  3. James Wong Howe - Yankee Doodle Dandy
  4. Armand Thirard - The Murderer Lives At Number 21
  5. Arthur C. Miller - This Above All
1943:
  1. Arthur C. Miller - The Song of Bernadette
  2. Karl Andersson - Day of Wrath
  3. Joseph Valentine - Shadow of a Doubt
  4. Georges Perinal - The Life and Death of Colonel Blimp
  5. Armand Thirard - La Main Du Diable
1944:
  1. Joseph LaShelle - Laura
  2. John F. Seitz -  Double Indemnity
  3. Charles Lang Jr. - The Uninvited
  4. Ronald Neame - This Happy Breed
  5. Lucien Ballard - The Lodger
1945:
  1. Robert Krasker - Brief Encounter
  2. Leon Shamroy - Leave Her to Heaven
  3. Roger Hubert - Children of Paradise
  4. Ronald Neame - Blithe Spirit
  5. Erwin Hillier - I Know Where I'm Going
1947:
  1. Jack Cardiff - Black Narcissus 
  2. Charles Lawton - Lady from Shanghai
  3. Robert Krasker - Odd Man Out
  4. Nicholas Musuruca - Out of the Past
  5. Lee Garmes - Nightmare Alley
1948: 
  1. Jack Cardiff - The Red Shoes
  2. Carlo Montuori - Bicycle Thieves
  3. Takeo Ito - Drunken Angel 
  4. William Daniels - The Naked City
  5. Guy Green - Oliver Twist
1949:
  1. Robert Krasker - The Third Man
  2. Milton R. Krasner - The Set-Up
  3. Paul C. Vogel - Battleground
  4. Asakazu Nakai - Stray Dog
  5. Christopher Challis - The Small Back Room
1950:
  1. Kazuo Miyagawa - Rashomon
  2. Nicolas Hayer - Orpheus
  3. Christian Matras - La Ronde
  4. Mutz Greenbaum - Night and the City
  5. John F. Seitz - Sunset Boulevard
1951:
  1. Robert Burks - Strangers on a Train
  2. Christopher Challis - The Tales of Hoffmann
  3. Charles Lang Jr. - Ace in the Hole
  4. Leonce-Henri Burel - Diary of a Country Priest
  5. Edward Scaife & John Wilcox - Outcast of the Islands
1952:
  1. Asakazu Nakai - Ikiru
  2. Robert Juillard - Forbidden Games 
  3. Floyd Crosby - High Noon
  4. Winton C. Hoch - The Quiet Man
  5. Karl Struss - Limelight
1954:
  1. Asakazu Nakai - Seven Samurai
  2. Kazuo Miyagawa - Sansho the Bailiff
  3. Robert Burks - Rear Window
  4. Kazuo Miyagawa - The Crucified Lovers
  5. Jack Hildyard - Hobson's Choice
1955:
  1. Stanley Cortez - The Night of the Hunter
  2. Armand Thirard - Les Diaboliques
  3. Russell Metty - All That Heaven Allows
  4. Henning Bendtsen - Ordet
  5. Jack Hildyard - Summertime
1957:
  1. Jack Hildyard - The Bridge on the River Kwai
  2. Asakazu Nakai - Throne of Blood
  3. George Krause - Paths of Glory
  4. Gunnar Fischer - The Seventh Seal
  5. Gunnar Fischer - Wild Strawberries
1958:
  1. Hiroyuki Kusuda - The Ballad of Narayama
  2. Robert Burks - Vertigo
  3. Russell Metty - Touch of Evil
  4. Jerzy Wójcik - Ashes and Diamonds
  5. Andrei Moskvin & Eduard Tisse - Ivan the Terrible Part 2
1960: 
  1. Otto Heller - Peeping Tom
  2. Giuseppe Rotunno - Rocco and His Brothers
  3. Aldo Scavarda - L'Avventura
  4. Freddie Francis - Sons and Lovers
  5. John L. Russell - Psycho
1961:
  1. Freddie Francis - The Innocents
  2. Kazuo Miyagawa - Yojimbo
  3. Sacha Vierny - Last Year At Marienbad
  4. Yoshio Miyajima - The Human Condition III: A Soldier's Prayer
  5. Sven Nykvist - Through a Glass Darkly
1963:
  1. James Wong Howe - Hud
  2. Giuseppe Rotunno - The Leopard 
  3. Gianni Di Venanzo - 8 1/2
  4. Davis Boulton - The Haunting
  5. Asakazu Nakai & Takao Saito - High and Low
1964:
  1. Hiroshi Segawa - Woman in the Dunes
  2. Gilbert Taylor - Dr. Strangelove
  3. Yoshio Miyajima  - Kwaidan
  4. Jean Rabier - The Umbrellas of Cherbourg
  5. Tonino Delli Colli - A Fistful of Dollars
1965:
  1. Freddie Young - Doctor Zhivago
  2. Edmond Richard - Chimes at Midnight
  3. Tonino Delli Colli - For a Few Dollars More
  4. Asakazu Nakai & Takao Saito - Red Beard
  5. Mieczyslaw Jahoda - The Sargasso Manuscript
1966:
  1. Tonino Delli Colli - The Good The Bad and the Ugly
  2. Hiroshi Murai - The Sword of Doom
  3. Vadim Yusov - Andrei Rublev
  4. Jaromír Šofr - Closely Watched Trains
  5. James Wong Howe - Seconds 
1968:
  1. Tonino Delli Colli - Once Upon A Time in the West
  2. Geoffrey Unsworth - 2001: A Space Odyssey
  3. Sven Nykvist - Hour of the Wolf
  4. Sven Nykvist - Shame
  5. Rokuro Nishigaki - Kill!
1970:
  1. Vittorio Storaro - The Conformist
  2. Freddie Young - Ryan's Daughter
  3. Laszlo Kovacs - Five Easy Pieces
  4. Fred J. Koenekamp - Patton
  5. Henri Decae - Le Cercle Rouge
1971:
  1. Vilmos Zsigmond - McCabe & Mrs. Miller
  2. Robert Surtees - The Last Picture Show
  3. David Watkin - The Devils
  4. Owen Roizman - The French Connection 
  5. Freddie Young - Nicholas and Alexandra
1973:
  1. Luis Cuadrado - The Spirit of the Beehive
  2. Anthony B. Richmond - Don't Look Now
  3. Lazlo Kovacs - Paper Moon
  4. Vilmos Zsigmond - Scarecrow
  5. Vilmos Zsigmond - The Long Goodbye
1974:
  1. Tak Fujimoto, Stevan Larner & Brian Probyn - Badlands
  2. Gordon Willis - The Godfather Part II
  3. John A. Alonzo - Chinatown
  4. Gordon Willis - The Parallax View 
  5. Vilmos Zsigmond - The Sugarland Express
1975:
  1. John Alcott - Barry Lyndon
  2. Russell Boyd - Picnic At Hanging Rock
  3. Georgy Rerberg - The Mirror
  4. Asakazu Nakai, Yuri Gantman & Fyodor Dobronravov - Dersu Uzala
  5. Luigi Kuveiller - Deep Red
1978:
  1. Nestor Almendros & Haskell Wexler - Days of Heaven
  2. Dean Cundey - Halloween
  3. Vilmos Zsigmond - The Deer Hunter
  4. Philip H. Lathrop - The Driver
  5. Sven Nykvist - Autumn Sonata
1979:
  1. Vittorio Storaro - Apocalypse Now
  2. Derek Vanlint - Alien
  3. Alexander Knyazhinsky - Stalker
  4. Gordon Willis - Manhattan
  5. Geoffrey Unsworth & Ghislain Cloquet - Tess
1980:
  1. Freddie Francis - The Elephant Man
  2. Vilmos Zsigmond - Heaven's Gate
  3. Michael Chapman - Raging Bull 
  4. Takao Saito & Masaharu Ueda - Kagemusha
  5. Tetsuo Takaha - A Distant Cry From Spring 
1981:
  1. Gordon Willis - Pennies From Heaven
  2. Donald Thorin - Thief
  3. Russell Boyd - Gallipoli
  4. Vilmos Zsigmond - Blow Out
  5. Xaver Schwarzenberger - Lola
1983:
  1. Caleb Deschanel  - The Right Stuff
  2. Giuseppe Lanci - Nostalghia
  3. Gordon Willis - Zelig
  4. Ron Fricke -  Koyaanisqatsi
  5. Igor Luther - Danton
1984: 
  1. Robby Müller - Paris, Texas
  2. Tonino Delli Colli - Once Upon a Time in America
  3. Miroslav Ondříček - Amadeus 
  4. Roger Deakins - 1984
  5. Caleb Deschanel - The Natural
1985:
  1. Takao Saito, Masaharu Ueda & Asakazu Nakai - Ran
  2. Aleksei Rodionov - Come And See
  3. David Watkin - Out of Africa
  4. John Seale - Witness
  5. Barry Sonnenfeld - Blood Simple
1987:
  1. Vittorio Storaro - The Last Emperor
  2. Henri Alekan - Wings of Desire
  3. Michael Seresin - Angel Heart
  4. Haskell Wexler - Matewan
  5. Allen Daviau - Empire of the Sun
1988:
  1. Michael Ballhaus - The Last Temptation of Christ
  2. Dean Cundey - Who Framed Roger Rabbit?
  3. Peter Suschitzky - Dead Ringers
  4. Vittorio Storaro - Tucker: The Man an His Dream
  5. Andrew Lau - As Tears Go By
1991:
  1. Zhao Fei - Raise the Red Lantern
  2. Sławomir Idziak - The Double Life of Veronique
  3. Roger Deakins - Barton Fink 
  4. Robert Richardson - JFK
  5. Chang Hui-kung & Li Long-yu - A Brighter Summer Day
1992:
  1. Jack N. Green - Unforgiven
  2. Michael Ballhaus - Bram Stoker's Dracula
  3. Dante Spinotti - The Last of the Mohicans
  4. Ronald Victor Garcia - Twin Peaks: Fire Walk With Me
  5. Philipee Rousselot - A River Runs Through It
1993:
  1. Janusz Kamiński - Schindler's List
  2. Michael Ballhaus - The Age of Innocence 
  3. Sławomir Idziak - Three Colours: Blue
  4. Gu Changwei - Farewell My Concubine
  5. Stuart Dryburgh - The Piano
1994:
  1. Piotr Sobociński - Three Colours: Red
  2. Roger Deakins - The Shawshank Redemption
  3. Gu Changwei - In the Heat of the Sun
  4. John Toll - Legends of the Fall
  5. Christopher Doyle & Andrew Lau - Chungking Express
1996:
  1. Roger Deakins - Fargo
  2. Caleb Deschanel - Fly Away Home
  3. Alex Thomson - Hamlet 
  4. Robby Müller - Breaking the Waves
  5. Dick Pope - Secrets & Lies
1997:
  1. Robert Elswit - Boogie Nights
  2. Christopher Doyle - Happy Together
  3. Roger Deakins - Kundun
  4. Dante Spinotti - L.A. Confidential
  5. Paul Sarossy - The Sweet Hereafter
1999:
  1. Freddie Francis - The Straight Story
  2. Emmanuel Lubezki - Sleepy Hollow
  3. Larry Smith - Eyes Wide Shut
  4. Seamus Mcgarvey - The War Zone
  5. John Seale - The Talented Mr. Ripley
2000:
  1. Christopher Doyle & Mark Lee Ping-Bing - In the Mood for Love
  2. Caleb Deschanel - The Patriot
  3. Peter Pau - Crouching Tiger, Hidden Dragon
  4. Roger Deakins - O Brother, Where Art Thou?
  5. Lajos Koltai - Malena
2001:
  1. Roger Deakins - The Man Who Wasn't There
  2. Javier Aguirresarobe - The Others
  3. Andrew Lesnie - Lord of the Rings: The Fellowship of the Ring
  4. Peter Deming - Mulholland Drive
  5. Sławomir Idziak - Black Hawk Down
2002:
  1. Conrad L. Hall - Road to Perdition
  2. Christopher Doyle - Hero
  3. César Charlone - City of God
  4. Michael Ballhaus - Gangs of New York
  5. Edward Lachman - Far From Heaven 
2003:
  1. Russell Boyd - Master and Commander
  2. Kim Hyung-koo - Memories of Murder
  3. Chung-hoon Chung - Oldboy
  4. Andrew Lesnie - Lord of the Rings: The Return of the King
  5. Eduardo Serra - Girl With A Pearl Earring
2005:
  1. Benoît Delhomme - The Proposition
  2. Emmanuel Lubezki - The New World
  3. Roman Osin - Pride and Prejudice
  4. Chung-hoon Chung - Sympathy for Lady Vengeance
  5. Roger Deakins - Jarhead
2008:
  1. Hoyte van Hoytema - Let the Right One In
  2. Martin Gschlacht - Revanche
  3. Jan Troell & Mischa Gavrjusjov - Everlasting Moments
  4. Wally Pfister - The Dark Knight 
  5. Mo-gae Lee - The Good The Bad The Weird
2009:
  1. Robert Richardson - Inglourious Basterds
  2. Stéphane Fontaine - A Prophet
  3. Kyung-pyo Hong - Mother
  4. Chung Chung-hoon - Thirst
  5. Bruno Delbonnel - Harry Potter and the Half Blood-Prince
2010:
  1. Morten Søborg - Valhalla Rising
  2. Martin Ruhe - The American
  3. Roger Deakins - True Grit 
  4. Mo-gae Lee - I Saw the Devil
  5. Robert Richardson - Shutter Island
2011:
  1. Newton Thomas Sigel - Drive
  2. Emmanuel Lubezki - The Tree of Life
  3. Hoyte van Hoytema - Tinker Tailor Soldier Spy
  4. Adriano Goldman - Jane Eyre
  5. Manuel Alberto Claro - Melancholia
2012:
  1. Roger Deakins - Skyfall
  2. Mihai Mălaimare Jr. - The Master
  3. John Toll & Frank Griebe - Cloud Atlas 
  4. Robert Yeoman - Moonrise Kingdom
  5. Claudio Miranda - Life of Pi
2013:
  1. Bruno Delbonnel - Inside Llewyn Davis
  2. Larry Smith - Only God Forgives
  3. Łukasz Żal & Ryszard Lenczewski - Ida
  4. Darius Khondji - The Immigrant 
  5. Emmanuel Lubezki - Gravity
2014:
  1. Emmanuel Lubezki - Birdman
  2. Dick Pope - Mr. Turner
  3. Jingsong Dong - Black Coal, Thin Ice
  4. Hoyte Van Hoytema - Interstellar
  5. Hans Fromm - Phoenix 
2015:
  1. John Seale - Mad Max: Fury Road
  2. Roger Deakins - Sicario
  3. David Gallego - Embrace of the Serpent
  4. Mike Gioulakis - It Follows
  5. Emmanuelle Lubezki - The Revenant
2016:
  1. Rodrigo Prieto - Silence
  2. Natasha Braier - The Neon Demon
  3. Chung Chung-hoon - The Handmaiden
  4. Linus Sandgren - La La Land
  5. Bradford Young - Arrival
2017:
  1. Roger Deakins - Blade Runner 2049
  2. Michael Bauman & Paul Thomas Anderson - Phantom Thread
  3. Hoyte van Hoytema - Dunkirk
  4. Dan Laustsen - The Shape of Water
  5. Jonathan Sela - Atomic Blonde
2018:
  1. Bruno Delbonnel - The Ballad of Buster Scruggs 
  2. Łukasz Żal - Cold War
  3. Benjamin Loeb - Mandy
  4. James Laxton - If Beale Street Could Talk
  5. Kyung-pyo Hong - Burning
2019:
  1. Jarin Blaschke - The Lighthouse
  2. Roger Deakins - 1917
  3. Claire Mathon - Portrait of a Lady on Fire
  4. Kyung-pyo Hong - Parasite
  5. Chung Mong-hong - A Sun
2020:
  1. Andrey Naydenov - Dear Comrades! 
  2. Joshua James Richards - Nomadland
  3. Sturla Brandth Grøvlen - Another Round
  4. Lachlan Milne - Minari 
  5. Łukasz Żal - I'm Thinking Of Ending Things
2021:
  1. Bruno Delbonnel - The Tragedy of Macbeth
  2. Dan Laustsen - Nightmare Alley
  3. Claire Mathon - Spencer
  4. Chung Chung-hoon - Last Night in Soho
  5. Janusz Kamiński - West Side Story
2022:
  1. Kim Ji-yong - Decision To Leave
  2. Darius Khondji - Bardo
  3. Jarin Blaschke - The Northman
  4. Janusz Kamiński - The Fabelmans
  5. Chayse Irvin - Blonde
2023:
  1. Robbie Ryan - Poor Things
  2. Łukasz Żal - The Zone of Interest
  3. Rasmus Videbæk - The Promised Land
  4. Hoyte van Hoytema - Oppenheimer
  5. Valentín Álvarez - Close Your Eyes
Lucien Ballard, 2 noms 1 win
 
Best Cinematography 1944: Laura (WINS)
Best Cinematography 1944: The Lodger (Nom)
Michael Ballhaus, 4 noms 1 win
 
Best Cinematography 1988: The Last Temptation of Christ (WINS)
Best Cinematography 1992: Bram Stoker's Dracula (Nom)
Best Cinematography 1993: The Age of Innocence (Nom)
Best Cinematography 2002: Gangs of New York (Nom)

Jarin Blaschke,  2 noms 1 win

Best Cinematography 2019: The Lighthouse (WINS)
Best Cinematography 2022: The Northman (Nom)

Russell Boyd, 2 noms 1 win

Best Cinematography 1975: Picnic At Hanging Rock (Nom)
Best Cinematography 1981: Gallipoli (Nom)
Best Cinematography 2003: Master and Commander (WINS)
 
Robert Burks, 3 noms 1 win
 
Best Cinematography 1951: Strangers on a Train (WINS)
Best Cinematography 1954: Rear Window (Nom) 
Best Cinematography 1958: Vertigo (Nom) 

Jack Cardiff, 2 noms 2 wins
 
Best Cinematography 1947: Black Narcissus (WINS)
Best Cinematography 1948: The Red Shoes (WINS) 
 
Christopher Challis, 2 noms
 
Best Cinematography 1949: The Small Back Room (Nom)
Best Cinematography 1951: The Tales of Hoffman (Nom)
 
Gu Changwei, 2 noms
 
Best Cinematography 1993: Farewell My Concubine (Nom)
Best Cinematography 1994: In the Heat of the Sun (Nom)

Chung-hoon Chung, 5 noms
 
Best Cinematography 2003: Oldboy (Nom)
Best Cinematography 2005: Sympathy for Lady Vengeance (Nom)
Best Cinematography 2009: Thirst (Nom)
Best Cinematography 2016: The Handmaiden (Nom)
Best Cinematography 2021: Last Night in Soho (Nom)
Tonino Delli Colli, 5 noms 2 wins

Best Cinematography 1964: A Fistful of Dollars (Nom)
Best Cinematography 1965: For a Few Dollars More (Nom)
Best Cinematography 1966: The Good, The Bad and The Ugly (WINS)
Best Cinematography 1968: Once Upon a Time in The West (WINS) 
Best Cinematography 1984: Once Upon a Time in America (Nom)

Stanley Cortez, 2 noms 2 wins
 
Best Cinematography 1942: The Magnificent Ambersons (WINS)
Best Cinematography 1955: The Night of the Hunter (WINS)

Floyd Crosby, 2 noms

Best Cinematography 1931: Tabu (Nom)
Best Cinematography 1952: High Noon (Nom)
 
Dean Cundey, 2 noms
 
Best Cinematography 1978: Halloween (Nom)
Best Cinematography 1988: Who Framed Roger Rabbit? (Nom)
 
William Daniels, 3 noms 1 win
 
Best Cinematography 1933: Queen Christina (WINS)
Best Cinematography 1938: Marie Antoinette (Nom)
Best Cinematography 1947: The Naked City (Nom) 
Roger Deakins, 13 noms 4 wins
 
Best Cinematography 1984: 1984 (Nom)
Best Cinematography 1991: Barton Fink (Nom)
Best Cinematography 1994: The Shawshank Redemption (Nom)
Best Cinematography 1996: Fargo (WINS)
Best Cinematography 1997: Kundun (Nom)
Best Cinematography 2000: O Brother, Where Art Thou? (Nom)
Best Cinematography 2001: The Man Who Wasn't There (WINS) 
Best Cinematography 2005: Jarhead (Nom)
Best Cinematography 2010: True Grit (Nom)
Best Cinematography 2012: Skyfall (WINS)
Best Cinematography 2015: Sicario (Nom)
Best Cinematography 2017: Blade Runner 2049 (WINS)
Best Cinematography 2019: 1917 (Nom)
 
Bruno Delbonnel, 4 noms 3 wins

Best Cinematography 2009: Harry Potter and the Half-Blood Prince (Nom)
Best Cinematography 2013: Inside Llewyn Davis (Wins)
Best Cinematography 2018: The Ballad of Buster Scruggs (WINS)
Best Cinematography 2021: The Tragedy of Macbeth (WINS)

Caleb Deschanel, 4 noms 1 win
 
Best Cinematography 1983: The Right Stuff (WINS)
Best Cinematography 1984: The Natural (Nom) 
Best Cinematography 1996: Fly Away Home (Nom) 
Best Cinematography 2000: The Patriot (Nom)
 
Christopher Doyle, 4 noms
 
Best Cinematography 1994: Chungking Express (Nom)
Best Cinematography 1997: Happy Together (Nom)
Best Cinematography 2000: In the Mood For Love (WINS)
Best Cinematography 2002: Hero (Nom)  

Arthur Edeson, 3 noms

Best Cinematography 1931: Frankenstein (Nom)
Best Cinematography 1933: The Invisible Man (Nom)
Best Cinematography 1942: Casablanca (Nom)
 
Gunnar Fischer, 2 noms
 
Best Cinematography1957: Wild Strawberries (Nom)
Best Cinematography 1957: The Seventh Seal (Nom)

Freddie Francis, 4 noms 3 wins

Best Cinematography 1960: Sons and Lovers (Nom)
Best Cinematography 1961: The Innocents (WINS)
Best Cinematography 1980: The Elephant Man (WINS)
Best Cinematography 1999: The Straight Story (WINS)
 
Lee Garmes, 2 noms

Best Cinematography 1932: Shanghai Express (Nom)
Best Cinematography 1947: Nightmare Alley (Nom)
 
Jack Hildyard, 3 noms 1 win
 
Best Cinematography 1954: Hobson's Choice (Nom)
Best Cinematography 1955: Summertime (Nom)
Best Cinematography 1957: The Bridge on the River Kwai (WINS) 
 
Kyung-pyo Hong, 3 noms

Best Cinematography 2009: Mother (Nom)
Best Cinematography 2018: Burning (Nom)
Best Cinematography 2019: Parasite (Nom)
 
James Wong Howe, 4 noms 1 win
 
Best Cinematography 1937: The Prisoner of Zenda (Nom)
Best Cinematography 1942: Yankee Doodle Dandy (Nom)
Best Cinematography 1963: Hud (WINS)
Best Cinematography 1966: Seconds (Nom) 
Hoyte van Hoytema, 5 noms 1 win

Best Cinematography 2008: Let The Right One In (WINS)
Best Cinematography 2011: Tinker Tailor Soldier Spy (Nom)
Best Cinematography 2014: Interstellar (Nom)
Best Cinematography 2017: Dunkirk (Nom)
Best Cinematography 2023: Oppenheimer (Nom)
 
Sławomir Idziak, 3 noms

Best Cinematography 1991: The Double Life of Veronique (Nom)
Best Cinematography 1993: Three Colours: Blue (Nom)
Best Cinematography 2001: Black Hawk Down (Nom)

Janusz Kamiński, 3 noms 1 win

Best Cinematography 1993: Schindler's List (WINS)
Best Cinematography 2021: West Side Story (Nom)
Best Cinematography 2022: The Fabelmans (Nom)

Darius Khondji, 2 noms 

Best Cinematography 2013: The Immigrant (Nom)
Best Cinematography 2022: Bardo (Nom) 
 
Laszlo Kovacs, 2 noms
 
Best Cinematography 1970: Five Easy Pieces (Nom)
Best Cinematography 1973: Paper Moon (Nom)

Robert Krasker, 3 noms 2 wins
 
Best Cinematography 1945: Brief Encounter (WINS)
Best Cinematography 1947: Odd Man Out (Nom)
Best Cinematography 1949: The Third Man (WINS)
 
Jules Kruger, 3 noms 1 win
 
Best Cinematography 1932: Wooden Crosses (Nom)
Best Cinematography 1934: Les Miserables (WINS)
Best Cinematography 1937: Pepe Le Moko (Nom) 
 
Charles Lang Jr., 2 noms

Best Cinematography 1944: The Uninvited (Nom)
Best Cinematography 1951: Ace in the Hole (Nom)

Andrew Lau, 2 noms

Best Cinematography 1988: As Tears Go By (Nom)
Best Cinematography 1994: Chungking Express (Nom)
 
Dan Lausten, 2 noms

Best Cinematography 2017: The Shape of Water (Nom)
Best Cinematography 2021: Nightmare Alley (Nom)
 
Mo-gae Lee, 2 noms

Best Cinematography 2008: The Good the Bad The Weird (Nom)
Best Cinematography 2010: I Saw the Devil (Nom)

Andrew Lesnie, 2 noms

Best Cinematography 2001: Lord of the Rings: The Fellowship of the Ring (Nom)
Best Cinematography 2003: Lord of the Rings: Return of the King (Nom)
Emmanuel Lubezki, 6 noms 1 win
 
Best Cinematography 1999: Sleepy Hollow (Nom)
Best Cinematography 2005: The New World (Nom)
Best Cinematography 2011: The Tree of Life (Nom) 
Best Cinematography 2013: Gravity (Nom)
Best Cinematography 2014: Birdman (WINS)
Best Cinematography 2015: The Revenant (Nom)

Clare Mathon, 2 noms

Best Cinematography 2019: Portrait of a Lady on Fire (Nom)
Best Cinematography 2021: Spencer (Nom)
 
Christian Matras, 2 noms 1 win
 
Best Cinematography 1938: Grand Illusion (WINS)
Best Cinematography 1950: La Ronde (Nom)

Russell Metty, 2 noms

Best Cinematography 1955: All That Heaven Allows (Nom)
Best Cinematography 1958: Touch of Evil (Nom)
 
John J. Mescall, 2 noms 1 win
 
Best Cinematography 1934: The Black Cat (Nom)
Best Cinematography 1935: Bride of Frankenstein (WINS)
 
Arthur C. Miller, 2 noms 1 win

Best Cinematography 1942: This Above All (Nom)
Best Cinemaotgraphy 1943: The Song of Bernadettte (WINS)
 
Kazuo Miyagawa, 4 noms 1 win

Best Cinematography 1950: Rashomon (WINS)
Best Cinematography 1954: Sansho the Bailiff (Nom)
Best Cinematography 1954: The Crucified Lovers (Nom)
Best Cinematography 1961: Yojimbo (Nom)

Yoshio Miyajima, 2 noms

Best Cinematography 1961: The Human Condition III: A Soldier's Prayer (Nom)
Best Cinematography 1964: Kwaidan (Nom)

Robby Müller, 2 noms 1 win
 
Best Cinematography 1984: Paris, Texas (WINS)
Best Cinematography 1996: Breaking the Waves (Nom)
Asakazu Nakai, 8 noms 3 wins

Best Cinematography 1949: Stray Dog (Nom)
Best Cinematography 1952: Ikiru (WINS)
Best Cinematography 1954: Seven Samurai (WINS)
Best Cinematography 1957: Throne of Blood (Nom)
Best Cinematography 1963: High and Low (Nom)
Best Cinematography 1965: Red Beard (Nom)
Best Cinematography 1975: Dersu Uzala (Nom) 
Best Cinematography 1985: Ran (WINS)

Sven Nykvist, 4 noms

Best Cinematography 1961: Through a Glass Darkly (Nom)
Best Cinematography 1968: Hour of the Wolf (Nom)
Best Cinematography 1968: Shame (Nom) 
Best Cinematography 1978: Autumn Sonata (Nom)

Georges Perinal, 3 noms

Best Cinematography 1931: A Nous La Liberte (Nom)
Best Cinematography 1932: The Blood of a Poet (Nom)
Best Cinematography 1943: The Life and Death of Colonel Blimp (Nom)
 
Dick Pope, 2 noms
 
Best Cinematography 1996: Secrets & Lies (Nom)
Best Cinematography: 2014: Mr. Turner (Nom)

Robert Richardson, 3 noms 1 win

Best Cinematography 1991: JFK (Nom)
Best Cinematography 2009: Inglorious Basterds (WINS)
Best Cinematography 2010: Shutter Island (Nom)
 
Giuseppe Rotunno, 2 noms

Best Cinematography 1960: Rocco and His Brothers (Nom)
Best Cinematography 1963: The Leopard (Nom)

Takao Saito, 4 noms 1 win

Best Cinematography 1963: High and Low (Nom)
Best Cinematography 1965: Red Beard (Nom)
Best Cinematography 1980: Kagemusha (Nom)
Best Cinematography 1985: Ran (WINS)
 
John Seale, 3 noms 1 win

Best Cinematography 1985: Witness (Nom)
Best Cinematography 1999: The Talented Mr. Ripley (Nom)
Best Cinematography 2015: Mad Max: Fury Road (WINS)

John F. Seitz, 2 noms

Best Cinematography 1944: Double Indemnity (Nom)
Best Cinematography 1950: Sunset Boulevard (Nom)
 
Larry Smith, 2 noms
 
Best Cinematography 1999: Eyes Wide Shut (Nom)
Best Cinematography 2013: Only God Forgives (Nom)
 
Dante Spinotti, 2 noms

Best Cinematography 1992: The Last of the Mohicans (Nom)
Best Cinematography 1997: L.A. Confidential (Nom)
 
Vittorio Storaro, 4 noms 3 wins

Best Cinematography 1970: The Conformist (WINS)
Best Cinematography 1979: Apocalypse Now (WINS)
Best Cinematography 1987: The Last Emperor (WINS)
Best Cinematography 1988: Tucker: The Man and His Dream (Nom)

Eduard Tisse, 2 noms 1 win

Best Cinematography 1938: Alexander Nevsky (WINS)
Best Cinematography 1958: Ivan the Terrible Part 2 (Nom)
 
Armand Thirard, 4 noms

Best Cinematography 1933: La Tête D’un Homme (Nom)
Best Cinematography 1942: The Murderer Lives At Number 21 (Nom)
Best Cinematography 1943: La Main Du Diable (Nom)
Best Cinematography 1955: Les Diaboliques (Nom)

John Toll, 2 noms

Best Cinematography 1994: Legends of the Fall (Nom)
Best Cinematography 2012: Cloud Atlas (Nom)

Masaharu Ueda, 2 noms 1 win
 
Best Cinematography 1980: Kagemusha (Nom)
Best Cinematography 1985: Ran (WINS) 

Geoffrey Unsworth, 2 noms

Best Cinematography 1968: 2001: A Spacy Odyssey (Nom)
Best Cinematography 1979: Tess (Nom)
 
Fritz Arno Wagner, 2 noms 1 win

Best Cinematography 1931: M (WINS)
Best Cinematography 1933: The Testament of Dr. Mabuse (Nom)
 
Joseph Walker, 3 noms

Best Cinematography 1932: American Madness (Nom)
Best Cinematography 1937: Lost Horizon (Nom)
Best Cinematography 1947: Lady From Shanghai (Nom)
 
Haskell Wexler, 2 noms 1 win
 
Best Cinematography 1978: Days of Heaven (WINS) 
Best Cinematography 1987: Matewan (Nom)
 
Gordon Willis, 5 noms 1 win
 
Best Cinematography 1974: The Godfather Part II (Nom)
Best Cinematography 1974: The Parallax View (Nom)
Best Cinematography 1979: Manhattan (Nom)
Best Cinematography 1981: Pennies From Heaven (WINS)
Best Cinematography 1983: Zelig (Nom)

Freddie Young, 3 noms 1 win
 
Best Cinematography 1965: Doctor Zhivago (WINS)
Best Cinematography 1970: Ryan's Daughter (Nom)
Best Cinematography 1971: Nicholas and Alexandra (Nom) 

Łukasz Żal, 4 noms

Best Cinematography 2013: Ida (Nom)
Best Cinematography 2018: Cold War (Nom)
Best Cinematography 2020: I'm Thinking of Ending Things (Nom)
Best Cinematography 2023: The Zone of Interest (Nom)
Vilmos Zsigmond, 7 noms 1 win
 
Best Cinematography 1971: McCabe & Mrs. Miller (WINS)
Best Cinematography 1973: The Long Goodbye (Nom)
Best Cinematography 1973: Scarecrow (Nom)
Best Cinematography 1974: The Sugarland Express (Nom)
Best Cinematography 1978: The Deer Hunter (Nom)
Best Cinematography 1980: Heaven's Gate (Nom)
Best Cinematography 1981: Blow Out (Nom)

98 comments:

Luke Higham said...

Wow, Blaschke beats Deakins.

Louis: Your thoughts on the cinematography of Sleepy Hollow.

Luke Higham said...

Louis: Were there any other changes to the winners or was it only The Lighthouse over 1917.

Robert MacFarlane said...

I know you've cooled on Carol but at least put it over the fish-eyed foolishness of The Revenant. It's Lubezki's second-ugliest movie.

On the other hand, Atomic Blonde, so all is forgiven.

Matt Mustin said...

I hate The Revenant but I'll still defend that it's beautiful-looking.

Emi Grant said...

Quite the lovely addition to the blog. I love seeing Mandy at #3 on 2018 and I'm Thinking of Ending things at #5 for 2020 in particular.

Anonymous said...

Here we go with the carol mania again...

Matt Mustin said...

I'm thinking Joel Coen is gonna end up being my best director win when all is said and done, if for no other reason than what he does with the witches.

Tim said...

Luke: he has cartainly given that before

Tahmeed Chowdhury said...

Love all the Deakins love, and really hoping Willis is a surefire win for 72.

Louis: Could Macfadyen go up in the 2005 Lead overall for Pride and Prejudice? It's a very strong year, but surprised to see him that *relatively* low.

Shaggy Rogers said...

Sergey Urusevsky was missing in The Cranes Are Flying (1957) and I Am Cuba (1964)

Mitchell Murray said...

Well, I finished the fourth season of "Breaking Bad" just now...and man, have I been missing out all this time.

I'll save a top ten of the ensemble until I finish the series. What I'll say right now is Giancarlo Esposito really shines in season 4, and though I knew about Gus' fate, the build up and pay off was very well done.

Matt Mustin said...

I so wish I could watch Breaking Bad for the first time again.

Anonymous said...

After the Cinematography list, now I want to see Louis doing the actress lists (lead and supporting). Who here also wants?

Luke Higham said...

Anonymous: Best wait for the bonus rounds to finish before he takes on such an undertaking. I've listed his 5s and 4.5s so if you want, I'll email you the list I've compiled.

Anonymous said...

Luke: Accepted.

Tahmeed Chowdhury said...

The newest Attack on Titan season is so good. Can't wait to see how they adapt the manga's ending.

Mitchell Murray said...

Matt: What are your thoughts on the episodes "...And the Bag's in the River", "4 Days Out", "Full Measure" and "Salud"?

Tahmeed: As far as Anime viewings, I'm torn between continuing AOT and watching the fifth season of MHA. I'll also admit, I'm sort of interested in Dragonball Super, and I know enough about the series so I wouldn't be completely lost, but it would be a wierd place to enter the show (I've only seen some of the animated films).

Matt Mustin said...

Mitchell: Man, it's been FOREVER.

Tahmeed Chowdhury said...

Mitchell: Haven't finished the latest Hero Academia season myself yet, felt like they were kind of losing the thread towards the middle. I'll probably finish it eventually, it's just not a show I could ever watch week to week.

As for AOT, it's like a reverse Game of Thrones in quality- it started off being mostly action and spectacle, (and was good at that), but it's an entirely different beast starting from the second season plot machination-wise. I get the feeling you'd love it, I know I do.

Tahmeed Chowdhury said...

Also, as for Super, given that a lot of people (myself included) watched Z before the original Dragon Ball, you'd be alright jumping in to be honest. DBZ Abridged can catch anyone up to speed in like a tenth of the time, with the exception of the Buu Saga I guess.

Mitchell Murray said...

Tahmeed: Given that the DBZ abridged was made by the same guys behind Hellsing Abridged - and how that was one of the funniest things I've seen in months - I can see why it'd be worth watching.

Also, another reason I'm interested in DB Super especially is the chance to see more of Beerus; Of my incomplete knowledge of the franchise, he's got to be one of my favourite DB characters, since I love the idea of this universal force of destruction being so childish over mere food.

Mitchell Murray said...

Something I also wanted to comment on just now; I re-read Louis' review of Gary Oldman in "Mank", and I'll admit to underselling that performance quite a bit when I watched the film.

I mention this mainly to give a great actor his due credit, and as a reflection on how we're NOT getting a perfect line up this year.

Luke Higham said...

Louis: Will you be able to see Blackadder Goes Forth before you begin the 2021 reviews.

Luke Higham said...

And any more 2021 releases from the past week or two.

Emi Grant said...

Mitchell: I gotta say, I'm a huge fan of all of those 4 episodes you mentioned. "...And The Bag's in The River" is in particular one of my absolute favorites, and is the most underrated episode in the show if you ask me.

Tahmeed Chowdhury said...

Louis: Your thoughts on the following Succession scenes?

L to the OG
Ken confesses the truth to his siblings
The bottom of the top

Mitchell Murray said...

Emi: That episode is a pivotal one for the show, I think, since it's Walt's first major push down a very dark road.

Aidan Pittman said...

Saw Parallel Mothers last night, which I liked but also felt was a bit lacking. Between this and Pain & Glory I think Almodóvar has an issue with developing ideas.

Cruz - 4.5
Smit - 4
Elejalde - 3.5
Sánchez-Gijón - 3.5
Palma - 3.5

Marcus said...

Louis: What are your ten favourite songs that won the Grammy for Record of the Year?

Tahmeed Chowdhury said...

Marcus: Can't quite give ten, but my favourites are:

'Hotel California'
'Bridge Over Troubled Water'
'Boulevard of Broken Dreams'
'Rolling in the Deep' (although I wish Adele won for 'Someone Like You')
'Beat It'
'Mrs Robinson'
'Somebody that I Used to Know'
'We Are the World'

It's downright criminal that 'Fast Car' and 'Lose Yourself' didn't win when they were nominated to be honest.

Mitchell Murray said...

Speaking of songs, what would be everyone's thoughts on this - assuming some of you haven't seen it already?

https://www.youtube.com/watch?v=K6CTpN6UMKQ

Luke Higham said...

Tahmeed: I concur on Someone Like You.

Mitchell Murray said...

Also, minor spoilers for my comment - It just hit me how my Paul Raci reminds me of Bill Nighy.

Mitchell Murray said...

*much*

Tahmeed Chowdhury said...

Mitchell: Even more reason to love Paul Raci, the man's awesome. Also really dug the song despite its brevity.

Anonymous said...

Louis: The screenshots are great to look at.

Louis Morgan said...

Sleep Tight, is one where I feel the film successfully does what it is trying to do, particularly in its moments of Hitchcockian tension, however causes me to go to what end given the ambiguous sadism of the central character?

Tosar - 4(I mean exceptionally creepy, and plays in this particularly off-putting believable way. This both in terms of the character hiding his intentions through this general distasteful manner, though not necessarily sinister. This against though his private moments where he acts well in just in terms of crafting the situation, and creating a sense of the demented focus of the man.)

Etura - 3.5(Part of the to what end, as she just creates this sweet presence that I didn't enjoy seeing stripped away by being slowly mistreated and tortured in a most peculiar way. Etura though brings an honest sweetness though and humanity to the victim nonetheless.)

Day of the Wacko is kind of funny and kind of interesting, though again another one where I wouldn't say I could wholly hooked into the film's unique rhythm, I did overall appreciate it to some degree though.

Kondrat - 4(I did enjoy his performance as this sort of passive exasperation combined with this more active anger. The sort of reactions though are often of this consistency, and so much of the film is watching him maintain the state of the wacko. The wacko that he does realize in his own unique moment that certainly does succeed in matching the film's off-beat tone.)

Tahmeed:

Probably not, only because my opinion will never change on the other half of the romantic equation which limits his performance to a degree for me.

L to the OG - (A simply brilliant scene in conception of Kendall playing basically the court jester part, however just the hilarious execution of it is fantastic from how straight Strong plays it, to the cringe in Snook and Culkin, but also Braun portraying Gregg's genuine love for the song.)

Ken confesses the truth to his siblings - (Just a beautifully realized scene that so perfectly accentuates the sense of the sibling dynamic as through the scene we get the snips still, but also a genuine familial love all the same, with Kendall so defeated, while Roman's snark is trying to support for once, and Shiv attempting to be a caring sister even in a certain disbelief at the standard.)

The bottom of the top - (I mean a Tom and Gregg scene, therefore guaranteed greatness. Hilarity in the opening of Braun's delivery of Gregg's "love life" that is both technically articulate in his maneuvering while also so completely awkward at the same time. Braun's earnestness against the complications that MacFadyen sells every second of, articulating the complexity of Tom's situation even as he only speaks in vague notions.)

Louis Morgan said...

Luke:

We'll see.

The Night House which I thought was flimsy as an overall haunted house/psychological thriller. A shame as I think it is carried successfully by Hall to the point I wish the script had been stronger for her to take it to the next level.

Hall - 4.5
Goldberg - 3
Curtis-Hall - 3.5

Compartment No. 6 I thought was fantastic and would love to see it upset The Hand of God out of the presumed five international feature nominees. Loved just its quiet telling of this unexpected and unlikely friendship that forms between two very different people. Loved most though was the sense of place both within the tight train car, and icy, yet beautiful, landscapes that they are traveling to.

Haarla - 4.5
Borisov - 4

With Parallel Mothers, it is once again true, that at most I'm probably only ever going to like "parts of" any Almodovar effort. This as elements I don't like are a consistency of his style. His style of the kitschy use of colors (which I don't mind), superfluous scenes (depends on the scene, didn't mind the audition here, but also had no real need to be in the film) melodramatic twists and turns (depends on the twist and the turn, here I liked the first few, but one relationship one made me roll my eyes by how unnatural the development felt), and the scattershot storytelling, which I don't think I'm ever going to fully like from him. This as it always feels like he's about to reach something, and then he swerves and focuses on something else right at the key moment. That is the case here once again. This is to the point the central, titular relationship, takes the backseat to what would have been either merely a storytelling device for most filmmakers, or would have had a deeper connection throughout. One can try to argue the thematic connection to me as much as they like, doesn't matter the attempt to bring back the Franco mass graves at the end, landed like a thud for me, which should be naturally potent material. Felt tacked on though because of the Almodovar method, and in turn I felt the actual central relationship conclusion felt rushed, and really resolved off-screen. What I did like, I quite liked, and for more than half of the film I thought this was going to be the Almodovar I might love, then he did what he does, and I started to reject. I'd still qualify it as good on the whole mind you, but once again Almodovar's trademarks got in the way of me loving Almodovar's work.

Cruz - 4.5
Sanchez-Gijon - 3.5
Smit - 4
Elejalde - 3

RatedRStar said...

Bafta nominations soon, I really think that these, possibly for the first time in a long time, are important, Best Actor is looking very curious now, Denzel has never received a Bafta nomination, I wonder what happens there.

Tim said...

yeah, Sleep Tight is not a comfortable one, i myself kind of like that kind of film though. I'd personnally give Tosar a 4.5



Luke Higham said...

Louis: Thoughts on the casts.

Tim said...

also, i too FINALLY saw the first season of Breaking Bad.

i liked it well enough, but am not head-over-heals in love yet, which for example Lost or GoT got me at insanely fast.

BB though was really slow (a bit too much for me at times) and the plotline of Walt's family seems ... odd at times. I don't really see where that is going and how it might tie in with the bigger picture.

And i fucking hate Marie! Please tell me she dies later on.

Calvin Law said...

I’m delighted that you loved Compartment No. 6, Louis. What are your thoughts on Kuosmanen’s direction? Knew it would be right up your street. And I do think it has potential to get in - there has been a lot of buzz for it and it’s been peaking at the right time.

Also highly recommend his last film The Happiest Day in the Life of Olli Maki when you get to it.

Calvin Law said...

And I’m glad you at least thought Parallel Mothers was good, it cohered much better for me overall than you but I get the reservations for sure.

BRAZINTERMA said...

Hello Louuis and folks!
The list of Brazilian winners of my award is out! There's a movie that many of you liked was one of the most awarded.

LINK: https://letterboxd.com/brazinterma/list/2021-brazil-ranking/

Calvin Law said...

Thank you for this Brazinterma! Love the Nine Days love. And Santoro’s win is inspired. Looking forward to checking more of these out.

Mitchell Murray said...

Tim: Trust me, I wasn't completely head over heels for the first season either, but it's get better with each succeeding season. It's mostly a show that excels in writing and performances, I find, but the plot does work itself decently enough and offers a lot of tense and logically constructed scenerios throughout. I also concur with your early response to Marie, but she too improves with time (though I'll be honest, Betsy Brandt isn't my favourite actor in the show).

On another note, I watched "The Lost Daughter" tonight and liked it quite a bit. I does the "Love and Mercy" thing by successfully casting two performers as one character, and it really does make you believe each is the same person at different ages. Beyond that, I think it's an ideally title movie, and paints a compelling portrait of imperfect, perhaps disillusioned motherhood. I'll have to see how it sits with time, but I definitely admired it.

Colman - 5
Buckley - 5
Harris - 3
Sarsgaard - 3
Johnson - 3 (Her line readings really didn't sync with her emotional performance at times, but that might just be her voice because she's still fine in general.)

Mitchell Murray said...

Something I'll also admit with season 1 of "Breaking Bad"...

I think part of why I found the cancer intervention scene so moving - beyond the excellent script and acting, of course - is I was going through a bit of a rough patch at the time (and screw it, I'll just say the word - depression). I don't know if I was extra suseptible to those kinds of scenes or what, but the show did it's job of making you empathize with Walt and his family. I think I addressed that last week as well, how its been very tough for me lately. It's not easy guys, but I'm going to try and get through this.

Robert MacFarlane said...

Mitchell: I noticed the same thing about Dakota Johnson. She has a naturally dreamy, sing-songy type of voice that causes some dissonance with the roles she takes. Otherwise she's great at internalization.

Matt Mustin said...

Rewatch of Return of the King has made me make some slight rating upgrades:

McKellen-5
Mortensen-4.5
Boyd-4

8000S said...

Louis: Your thoughts on the direction and screenplay of Gentleman's Agreement. To think this was the picture to receive the Best Picture award after the brilliant The Best Years of Our Lives got the award. And not gonna lie, Peck is downright unlikable and smug in it.

Also, it says on some site that Anne Revere was considered to play Ma Bailey in It's a Wonderful Life. Capra really dodged a bullet on that one by casting Beulah Bondi, didn't he?

BRAZINTERMA said...

Calvin: I'm glad you liked the list.
End of February or beginning of March, I will post the list of Brazinterma Internacional nominees.

Calvin Law said...

Louis: Chung Mong-Hong’s latest, The Falls, is on Netflix, it’s decent, not quite as great as The Sun but I guess that’s a hard one to pull off.

Louis Morgan said...

Luke:

Hall - (Her performance is completely genuine in presenting a woman suffering from grief, depression but also this kind of disbelief within her situation. Hall creates this natural state of this complexity where at times she almost seems like she's going to crack up by the way fate has seemingly decided to abuse her in this way. She's equally strong in just helping to craft a genuine atmosphere by very much playing every scene with a sense of place and situation. Her performance creates the right sense of horror and emotional trauma within each new discovery. Again where this all takes her honestly gets a little silly even, but Hall delivers on every moment to craft stakes that at least exist in her own work even when they may be lacking elsewhere.)

Goldberg - (She's just fine in the best friend role, nothing notable, but entirely serves her purpose.)

Curtis-Hall - (Really liked his performance to the point I wish he had gotten more to do. This as he brings such an honest warmth and sense of the supportive history between the man and Hall's character. Equally good is his moments of revelation he brings such a powerful sense of weight and the conflict of responsibility between lying to ease a situation or telling the truth to potentially make it worse.)

Haarla - (Her performance does well to establish an innate likability and just a sense of the earnest warmth of the person beforehand, therefore making the journey that much more from a place of feeling in her position. In turn she offers the right perspective of the audience surrogate in terms of creating the sense of the journey particularly that of the central relationship. Haarla's wonderful by naturally seguing within her performance from the early simple reactions of dealing with the man seeming just hitting on her, to finding some honest actual common ground, to trying to create a greater distance while there is a greater connection being found. She finds just the right tone in every moment to craft such a natural progression, even within the bumps, which I think were the trickiest to pull off however Haarla's wonderful in realizing each as this person. The major scene of the dining room breakdown against the compartment scene, Haarla is great in bringing initially a playfulness that is too blind to the vulnerability, then playing the following scene, which could've been false like another sudden romantic scene that I'll get to in a moment, but is made natural by Haarla presenting it as this sort attempt at a comforting act of someone she loves though isn't really truly attracted to in that way.)

Louis Morgan said...

Borisov - (Overshadowed per the nature of the film, but I did like his performance throughout. This in being the man that we see through her eyes not as he fully is. This as he is bit much at first, but Borisov slowly unveils the better side of the man within his pride and bluster to show the better man in there. This to the point of though eventually showing the painful vulnerabilities in the man, before finding a calmer place of a simple, yet pure camaraderie.)

Cruz - (Cruz always seems far more comfortable as a performer in Spanish, and that is once again the case. The Almodovar leads tends to go through a whole lot, and that is no different once again. Cruz brings a nice general energy here to begin with, bringing this initial kind of optimism within the character as the starting point. She's very effective though in then showing the stressors that realize themselves when she begins to unveil the revelations that befall her character, and finds the right emotional nuance of these situations. Except one that involves the chemistry with another performer, that just isn't apparent, and didn't seem it was written or directed to be apparent either, and is pure out of left field, not working at all. I think this is entirely Almodovar's fault though as he did not build to it in any way shape or form. Beyond that though Cruz delivers strong performance nonetheless.)

Sanchez-Gijon - (Is effectively self-absorbed in every aspect of her performance and delivers with the right degree of comic energy that doesn't overcome the dramatic intention of the nearly uncaring mother. Of course at a certain point the film just seems to forget about her.)

Smit - (Largely liked her performance as well, though again one aspect I don't think is earned in the least, but again while there is a performance aspect missing, it's more so on the writing and direction there. Smit the rest of the time is effective in presenting the phases of her character from her initial scenes of the truly despondent soon to be mother, then the maturation we see later on of the woman with a largely sense of herself and willingness to be more than the seeming expectation of her.)

Elejalde - (He's fine in being both just a bit self-absorbed while also being just genuine enough in other moments.)

Louis Morgan said...

Calvin:

I found Kuosmanen's direction very strong, particularly as soon as we enter the train. This as his choices to be so within the train throughout the journey, help to ensure this sense of place, as he chooses to look out through the windows and with that perspective. In turn his choices in overall the lighting, and camerawork in general craft this sense of place, as he finds the right artful combination between giving that sense of realism while allowing for beauty within that. The success here being in that it is almost as though you can feel the heat of the cabin against the cold of the window, and remarkable in terms of making every step of the journey feel wholly tangible. In turn he makes this catharsis by when we reach the destination he expands, as one would be their own perspective, and we can see the beautiful larger landscapes that Laura would be able to see. In addition his restraint throughout I think is pitch perfect in crafting the naturalism in the interactions that always skirt dullness, but make you real sense the feeling of just being with these people.

I'll certainly try to check it out soon.

Louis Morgan said...

8000's:

The film itself is one that Kazan would rightly criticize. Kazan's direction compared to say his debut with A Tree Grows in Brooklyn, which felt so lived in in terms of the city and the space of the family, here feels so bland, hollow, and purely studio in the worst possible way. Everything here screams artifice. The actual drama is taken with this stilted quality as Kazan really makes the performers just kind of say lines without any real passion or sense of true purpose beyond self-righteousness perhaps. The actual inherent drama mainly realizing itself through characters being casually rude against Peck giving them that Peck stare. The rest being devoted to the lame and rather dull romance, which I'd say Kazan seems disinterested in but he's not engaged with the antisemitism plot line either.

As much as Kazan isn't delivering with his direction here, which is combating with Pinky for career worst from what I've seen, the script is the biggest problem, and similar to Pinky kind of a guide on how not to do a message film. I will say the essential idea is already flawed as, why not instead say have a Jewish man just trying to deal with the corporate world, going by his Jewish name again or something, or just have it about a Jewish man. The whole fake Jewish angle is particularly dumb as there are so many ways you could've done that better. But let's take the film on its accord, that's the story, okay, but even with that it's awful. What it is mostly are two types of artificial scenarios as written. Either people are saying exactly what they mean in their prejudice, or a character lecturing all on this behavior. There is no subtly in either, whether that be showing the quieter ways of prejudice or actually getting to something deeper here. Everything feels set up just to have the big moment of triumph in standing up against the prejudice. There are some minor attempts at something more, like the self-hating Jew, but even that is horribly developed towards just speechifying. Of course that is ignoring that the film haphazardly wraps this around a tepid romance, that exists largely for greater melodrama. The attempt to the connect the two is flimsy at best. The worst aspect of the script may have to be John Garfield's Dave, as the character himself feels token in a film about antisemitism, the only substantial character is treated like "hey how about bring Dave in he's Jewish", and only there not to be a person, rather to give an extra lecture,

Indeed.

Calvin Law said...

Louis: I also thought Kuosmanen's use of music was brilliant. The final needle drop to close the film paired with the callback of the note/drawing was just so lovely. Completely agree on the use of the setting of the train and the cinematography. We most certainly do not need another Murder on the Orient Express so soon but I am intrigued at what Kusomanen could possibly do with a story like that.

Bryan L. said...

Louis: Where did you watch Compartment No. 6?

Also, your retro directorial choices for Asghar Farhadi?

8000S said...

Louis: If you haven't still seen His Kind of Woman and Man with the Gun yet, remember, you can watch them here.

https://ok.ru/video/266661399203
https://www.youtube.com/watch?v=NqVq3MDvb1Q

Calvin Law said...

So I’m probably seeing Belle this week. For everyone who has: should I go dub or sub?

Bryan L. said...

Calvin: I saw it with subs.

Robert MacFarlane said...

Also saw it in subs. Kaho Nakamura's performance is worth watching the sub.

Tim said...

your thoughts on the Direction and Cinematography of The Others?

Louis Morgan said...

Bryan:

In a movie theater.

Farhadi:

The Angry Silence
Paris, Texas
Bicycle Thieves

Calvin:

I watched both versions. I'll concur with Robert with the sub for Nakamura's performance. I will say though the English dub is a good one.

Bryan L. said...

Louis: Your rating and thoughts on Jennifer Coolidge in Swan Song, and anyone else you feel is worth mentioning in that film?

It's a bit too fitting that both Swan Songs from 2021 work best as vehicles/character studies for their starring men, though both films are still decent on their own.

Luke Higham said...

Louis: Have you seen Blue Bayou.

Aidan Pittman said...

Louis: Have you seen any of this year's Oscar shortlisted documentaries (excluding the ones you've mentioned before)?

Robert MacFarlane said...

Louis: Where does Sideshow Bob Roberts rank among your favorite Simpsons episodes? I think it might be my flat-out favorite.

Louis Morgan said...

Tim:

The direction, along with Kidman's performance, really is the others. This as Amenabar creates such a thick and striking atmosphere. This with the intention to crafting the setting, and the detail granted to the world the character inhabit. The use of the score, and the lighting, in creating this eerie sense of a place, that is of the past, but also ethereal in its own way. This sort of not quite normalcy that grants such a ghostly quality to the film, even as the film's screenplay doesn't always make the greatest use of this as say compared to the Innocents that explores a lot more. The idea of the haunted house purely on its own though is powerfully realized with just some highlight moments, particularly Amenabar's execution of the "I Am Your Daughter" moment where it obscures and plays with the viewers mind through the veil of either obscuring a little girl or an old woman.

Javier Aguirresarobe's cinematography being the highlight. The use of lighting, framing and composition here that crafts every shot as though it is a period painting. A painting made by a dead person of dead people. This as there is a low key horror in the lighting that isn't traditional extremes of the haunted house, rather than this often more of the blending of grays here that are so striking. This while realizing the chilling setting, where you can almost sense the cold state of the space.

Luke:

Yes, thought it had good moments, but overall found it a bit too heavy handed in its exploration of the issue. Playing too often into obvious moments, particularly with the ex-husband character and his partner.

Aidan:

All except President, Julia and Writing With Fire.

Bryan:

It should speak to those films in that at this point I really don't remember anything other than Kier's performance.

Robert:

Not sure of the exact ranking, but I love the episode.

Tony Kim said...

Luke, are there any films whose cinematography you wanted to include but couldn't find the room for?

May I ask why you loved Another Round's cinematography? That aspect of the film didn't stand out to me at all.

Also, what are your thoughts on Lance Acord's work as a cinematographer?

Luke Higham said...

Louis: Ratings and thoughts on Chon and Vikander.

Anonymous said...

Louis: Your top 10 Bill Nighy and Noah Taylor acting moments.

Calvin Law said...

I liked Blue Bayou more than you Louis, but I agree that Mark O’Brien and especially Emory Cohen’s performances and characters left much to be desired. The film is at its best when it’s just sticking to the central emotional thread of father/daughter/mother imo

BRAZINTERMA said...

Louis: Say your Top 7 best Cast/Ensemble of 1942?

Ytrewq Wertyq said...

Louis: your 10 best Vincent D'Onofrio moments.

8000S said...

Louis: So according to some sources, when it came to casting Spellbound, Hitchcock and Selznick had Greta Garbo and Joseph Cotten in mind for Bergman and Peck's roles? I mean, it's Spellbound, but what do you think of those choices for those parts?

You also forgot to give your thoughts on the idea of Garbo in Deborah Kerr's role in Black Narcissus, as supposedly Powell felt Kerr was too young for her part. Honestly, even if Kerr is a little young, I'm glad she got the part.

Louis Morgan said...

Tony Kim:

Plenty.

Well other than beautiful shots like the one featured in my background, I thought it was a terrific naturalistic aesthetic in terms of lighting, but also with some fantastic movement most notable the choir practice scene in that sense. For me it was beautiful work without accentuating itself as such, but was nonetheless in a natural way.

Well having only seen Adaptation, Being John Malkovich and Lost in Translation, I can safely say, I think he's fine, but nothing notable. This as his aesthetic is kind of the naturalistic approach, that is maybe too naturalistic at times in that the shots can occasionally be a bit bland. I don't think the cinematography is what stands out about either Kaufman/Jonze film, and don't care for his work in Lost in Translation, though Coppola has the directorial tendency to under light her scenes to begin with.

Luke:

Chon - 3.5(Much like his film, very earnest to be sure. I didn't ever quite feel he brought us to the depths of the role though. I think he's entirely fine in terms of the surface emotion he displays, but I never quite got an understanding of who this man was on a deeper level than what we get. He's certainly decent enough, however I think the role needed a greater intensity than it seems like Chon might be capable of, say something like what Steven Yeun could've brought to the role in comparison. He's more than decent, but limited to an extent.)

Vikander - 3.5(Quite liked her titular song delivery. Otherwise this is a fairly basic role as the struggling mother who is loving in one way, though also frustrated seemingly by the inconsistency of all the men in her life. Vikander is effective though within the confines of the character.)

Anonymous:

Nighy:

1. Last Chat - About Time
2. Wedding Speech - About Time
3. Diagnosis - About Time
4. Fatherly goodbye - Shaun of the Dead
5. What he'd like to say - Pride
6. Telling about the secret - About Time
7. Christmas is All Around - Love Actually
8. Do you fear death - Dead Man's Chest
9. I am the chief inspector - Hot Fuzz
10. Love of my life - Love Actually

Taylor:

1. "Say My Father" - Game of Thrones
2. Pledges - The Year My Voice Broke
3. Final performance - Shine
4. Meeting with Solomon - Peaky Blinders
5. Not Mattering - The Year My Voice Broke
6. Losing out on the deal - Peaky Blinders
7. Leaving Home - Shine
8. Better than Gold - Game of Thrones
9. Hitler's Worst Day - Preacher
10. How it all works - Vanilla Sky

Brazinterma:

1. Casablanca
2. The Murderer Lives at Number 23
3. The Devil's Envoys
4. There Was a Father
5. Saboteur
6. The Pied Piper
7. Now Voyager

Ytrewq:

1. Bathroom - Full Metal Jacket
2. Beatdown - Full Metal Jacket
3. Threatening Murdock in Prison - Daredevil
4. Knowing what might be going no - Thumbsucker
5. After the beatdown - Full Metal Jacket
6. My hands on my head - Men in Black
7. Contraband - Full Metal Jacket
8. Negotiating with the Punisher - Daredevil
9. Joker's Advice - Full Metal Jacket
10. Like this? - Men in Black

8000's:

Garbo is always good and usually great so of course she'd be great. Cotten would've been MUCH better than Peck was there though.

I thought I had, anyways, Garbo would've been great, however that would've completely changed the dynamics of this film with a older woman looking back at her far past life, rather feeling more recent as it is with Kerr.

Mitchell Murray said...

Random question for everyone here: Is anyone familar with the A&E series "Bates Motel"?

That was a show I watched when it first aired, but eventually fell out of with the subsequent seasons. It certainly had an interesting concept and a fairly authentic setting, but I'm not sure it truly found greatness overall. I think it really started to lose me with some of the sideplots beyond Norman and mother, especially with a lot of the secondary roles split between okay enough and not so great performances.

Robert MacFarlane said...

If there’s any moment I would have cited Nighy for in Pirates, it would have been “my heart will always belong to you” in At World’s End. Granted, I’m an At World’s End defender (it’s better than any MCU movie, damn you all!), so I don’t know. But when I rewatched it for the first time in a decade last year, I gasped when he said that line in his normal voice. I had totally forgotten that.

Louis Morgan said...

Robert:

Well you won't hear me dissing Davy Jones in any regard, both films of the duology films for me actually are *almost* good, but just overly long and complicated. I think the story is there, there's really just way too much of it. Also I wish they hadn't Clouseaud Jack so much.

Robert MacFarlane said...

Louis: I won't defend Dead Man's Chest, but I found At World's End to be surprisingly moving on revisit. I know you're far from a Knightley or Bloom fan, but I was taken aback at how sad I was for their ultimate star-crossed fate. Also, whatever its excesses, I actually found the plottiness of it better-handled than Dead Man's Chest by a good margin.

Also, I'll defend some of Jack's scenes in AWE. His finding the Kraken washed up and his reaction to Will's death reminds me that whatever exaggerations they went to, Depp still had it in him when they asked. Also, he still has some genuinely hilarious moments (Arguing at the Locker with everyone, the beach negotiation, The Brethren Court)

Actually, I've been meaning to ask: Why is Kevin McNally so low on the ranking for 2003? His line reading of "Aye, sea turtles" warrants a 3.5 at a minimum.

Tony Kim said...

Louis, your thoughts on Robert Elswit as a cinematographer? I was a bit surprised to not see There Will Be Blood not cited here (actually, 2007 as a whole is missing here, may I ask what that's about?)

Matt Mustin said...

Tony Kim: He hasn't gone back to that year for the bonus rounds yet. When he does, he'll include it here.

Ytrewq Wertyq said...

In fairness I used to be OK even with a comic relief-oriented Jack Sparrow... until I've watched Dead Men Tell No Tales.

Matt Mustin said...

I've never had much of a problem with Bloom or Knightley in those movies.

RatedRStar said...

I think the only time At World's End worked for me was its appearance in Kingdom Hearts III, it along with Toy Story were the best worlds in that game.

Louis Morgan said...

Robert:

Unless I'm just not seeing it, I think I forgot to rank him, I like McNally there though(who I mixed up with Kevin Conway more times than I care to admit).

While I'll agree it's not all bad, I do hate that it seems like at a certain point they forgot that Jack was only playing the fool in the first film.

Tony Kim:

I believe I've given those before, but to briefly restate. Well to properly evaluate any cinematographer you need to take their work across filmmakers, as obviously PTA for example hasn't lost anything without him, though I have to imagine he must've learned much from him. I think in the collaboration is where you got something truly special. This as you take the rest of his work, it is typically consistently good but the level he reaches is very much based on the filmmaker he is working with. Where say Deakins, Delbonnel, Storaro hit greater hits with greater filmmakers, their work stands out regardless. That isn't always the case with Elswit. His work is typically better than the average film anyways, but his highs and lows correspond with who he's working with. PTA (Greatness), Clooney, Affleck, Dan Gilroy (Goodness), Gaghan, Tony Gilroy, Mamet (ehhh....).

Calvin Law said...

Gotta say, if either Belle or Flee is snubbed from Animated that’ll be really bad, but the real crime is not having a single Belle song in the the shortlist!

Also I really liked it, have reservations but it’s definitely got so much passion and ambition behind it to admire and love.

Louis Morgan said...

Calvin:

And the score shortlist...

Shaggy Rogers said...

Hey guys
Say your "Heart Nominees" in the categories. These are people and films that are likely to be remembered at the Oscars, but that you still believe could show up by surprise next week.

Picture: The Tragedy of Macbeth
Director: Joel Coen - The Tragedy of Macbeth
Actor: Nicolas Cage - Pig
Actress: Renate Reinsve - The Worst Person in the World
Supporting Actor: Mike Faist - West Side Story
Supporting Actress: Kathryn Hunter - The Tragedy of Macbeth
Animated: Belle
International Film: I'm Your Man
Production Design: The Tragedy of Macbeth
Sound: The Last Duel
Score: The Tragedy of Macbeth
Editing: Licorice Pizza
Visual Effects: No Time to Die
Costume Design: Passing
Cinematography: The Green Knight
Makeup and Hairstyling: Nightmare Alley
Original Screenplay: A Hero
Adapted Screenplay: Passing
Song: "So May We Start" - Annette

And what are yours?

Calvin Law said...

Picture: Drive My Car
Director: Ryusuke Hamaguchi - Drive My Car
Actor: Hidetoshi Nishijima - Drive My Car
Actress: Renate Reinsve - The Worst Person in the World
Supporting Actor: Anders Danielsen Lie - The Worst Person in the World
Supporting Actress: Kathryn Hunter - The Tragedy of Macbeth
Animated: Belle
International Film: Prayers for the Stolen
Production Design: Parallel Mothers
Sound: The Power of the Dog
Score: Spencer
Editing: Summer of Soul
Visual Effects: The Matrix Resurrections
Costume Design: Passing
Cinematography: Spencer
Makeup and Hairstyling: Nightmare Alley
Original Screenplay: The Worst Person in the World
Adapted Screenplay: Drive My Car
Song: So May We Start

Anonymous said...

1962,1967,1969,1977,1982,1986,1990,2006,2007 & 2009 winners?

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