Cinematography is an essential element of filmmaking that can elevate the narrative to new heights. It is the art of capturing moving images on camera and creating a visual language that tells a story. The best cinematography movies are those that use this art form to create stunning visuals that leave a lasting impression on the viewer. In this article, we have compiled a list of 22 must-watch movies with the best cinematography. From Citizen Kane to Blade Runner 2049, these visually beautiful movies were chosen for their aesthetic quality over plot and storytelling.

Here is a list of 50 different best cinematography movies, compiled from multiple sources:

1. Citizen Kane (1941)
2. Barry Lyndon (1975)
3. Pather Panchali (1955)
4. Se7en (1995)
5. Blade Runner 2049 (2017)
6. Hero (2002)
7. Tree of Life (2011)
8. Sicario (2015)
9. The Revenant (2015)
10. The Grand Budapest Hotel (2014)
11. Roma (2018)
12. Dunkirk (2017)
13. The Assassination of Jesse James by the Coward Robert Ford (2007)
14. The Dark Knight (2008)
15. Inception (2010)
16. Mad Max: Fury Road (2015)
17. Children of Men (2006)
18. The Social Network (2010)
19. The Shawshank Redemption (1994)
20. Lawrence of Arabia (1962)
21. The Godfather (1972)
22. Apocalypse Now (1979)
23. The Thin Red Line (1998)
24. The Master (2012)
25. No Country for Old Men (2007)
26. There Will Be Blood (2007)
27. The Curious Case of Benjamin Button (2008)
28. The Secret Life of Walter Mitty (2013)
29. The Fall (2006)
30. The Fountain (2006)
31. Amélie (2001)
32. The Handmaiden (2016)
33. The Shape of Water (2017)
34. Moonlight (2016)
35. La La Land (2016)
36. Arrival (2016)
37. Gravity (2013)
38. Interstellar (2014)
39. The Prestige (2006)
40. The Matrix (1999)
41. The Lord of the Rings: The Fellowship of the Ring (2001)
42. The Grandmaster (2013)
43. The Last Emperor (1987)
44. Memoirs of a Geisha (2005)
45. The English Patient (1996)
46. The Aviator (2004)
47. The Great Gatsby (2013)
48. Moulin Rouge! (2001)
49. The Revenant (2015)
50. The Hateful Eight (2015)

These movies were chosen for their aesthetic quality over plot and storytelling, and offer valuable lessons on how mastering all aspects of composition can elevate the narrative to new heights.

What are some classic movies with great cinematography?

Citizen Kane (1941) is considered one of the most groundbreaking films in cinematography. Cinematographer Gregg Toland used deep focus photography and low angle shots to create striking compositions. The scene where Kane’s mother signs over custody showcases the deep focus with Kane prominent in the foreground and his mother tiny in the distance. Toland’s use of shadows and chiaroscuro lighting was also highly innovative.

Another classic praised for cinematography is Gone with the Wind (1939). Ernest Haller’s lush Technicolor cinematography immersed viewers into the grandeur of the Old South. Haller utilized visual techniques like light streaming through windows, silhouettes, and sweeping crane shots to convey the romanticism and drama. The famous silhouette shot of Rhett and Scarlett with an orange sky is a perfect example.

Orson Welles’ The Magnificent Ambersons (1942) featured Stanley Cortez’s striking black and white cinematography. The dramatic shadows, expressive camera movements, and deep focus photography contributed greatly to the film’s visual storytelling. Cortez’s low angle shots emphasised the grandiose Amberson mansion.

Vertigo (1958) showcased Robert Burks’ innovative cinematography. The disorientating use of the dolly zoom, skewed angles, and handheld camera shots vividly conveyed Scottie’s fear of heights and obsession. Color was used for symbolic purposes, like Madeline’s green dress and red walls. The rotating camera over the kiss scene is a cinema landmark.

Lastly, Lawrence of Arabia (1962) is renowned for Freddie Young’s sweeping desert landscapes and perfectly composed frames. Young captured the grandeur of the vast desert vistas through wide angle lenses and painterly composition. Key lighting enhanced O’Toole’s enigmatic features as Lawrence.

What are some recent movies with impressive cinematography?

Roger Deakins’ digital cinematography in Blade Runner 2049 (2017) was widely praised. His use of chiaroscuro lighting, seamless VFX integration, and moody atmospherics built upon the iconic original film. Sweeping shots of dystopian cityscapes showcase his visual mastery.

Emmanuel Lubezki has amazed with the long-take cinematography of Birdman (2014), which appeared as one continuous shot. The fluid camerawork builds kinetic energy throughout while exploring the nooks of the theater. Another Lubezki effort is Gravity (2013) with its immersive sense of space thanks to dramatic long takes.

Hoyte van Hoytema’s cinematography for Interstellar (2014) was stellar. He conveyed the wonders of space through the interplay of light and shadows in exterior shots of spaceships. Extreme wide shots captured alien planets in jaw-dropping grandeur.

Mandy (2018) by Benjamin Loeb contained psychedelic palettes and hypnotic lighting. Scenes shift between saturated neon colors and smoky crimson hues, complementing the film’s surreal, hallucinatory atmosphere. The ominous, almost supernatural lighting builds a foreboding mood.

Cold War (2018) featured luminous black-and-white photography by Łukasz Żal. The high-contrast lighting elegantly captures the melancholic romance. Żal’s use of negative space and fluid handheld camerawork was inspired by French New Wave films.

Are there any foreign-language films with exceptional cinematography?

In the Swedish film The Passion of Anna (1969), Sven Nykvist’s striking use of natural lighting and bleak winter landscapes heightens the movie’s stark, minimalist aesthetic. Deeply angled shadows create visual tension amidst the stark white snow.

Hero (2002) showcase Christopher Doyle’s rich color palettes and majestic compositions. Vibrant red and green color schemes tie into the film’s martial arts theme. Slow motion pans and dramatic angles amplify the balletic action choreography.

Cinematographer Mark Lee Ping Bin immersed viewers in the bustling streets of 1960s Hong Kong through dynamic camera movements and evocative lighting in In the Mood for Love (2000). Rain-streaked windows and red lanterns craft an intoxicating, romantic atmosphere.

The mirror house shootout scene in The Lady from Shanghai (1947) exemplifies Xu Ying’s innovations. His bold use of shadows, distorted angles, fractured reflections and off-kilter compositions amplify the disorientation. Deep focus shots add visual complexity.

Young Girls of Rochefort (1967) is a French musical noted for its exuberant colors and sweeping camerawork by Daniel Vigne that captures the energy of the dance numbers. Split diopter shots keep multiple planes in focus during busy scenes.

What are some additional classic movies praised for cinematography?

The Wizard of Oz (1939) broke ground with its early Technicolor cinematography by Harold Rosson. The change from a sepia Kansas to vibrant Oz is striking. Rosson used lighting, costumes, and set design to differentiate between worlds. The ominous green tinting of the Wicked Witch’s scenes was also innovative.

Gregg Toland’s deep focus cinematography made Citizen Kane’s visuals cutting-edge for its time. But Toland also contributed exceptional work in The Grapes of Wrath (1940), using low lighting and shadows to craft images reminiscent of Dorothea Lange’s photographs that captured the despair of the Dust Bowl era.

Another Toland achievement was the ominousExpressionist-influenced lighting of Horizontals and verticals in The Long Voyage Home (1940), with deep shadows encapsulating the crew’s claustrophobia aboard a WWII merchant ship.

Stanley Kubrick pushed cinematography forward in films like Paths of Glory (1957) with sublime tracking shots by George Krause that captured the trench warfare. Kubrick’s collaboration with John Alcott on 2001: A Space Odyssey (1968) also created groundbreaking front projection effects.

Gregg Toland’s contributions to films like The Little Foxes (1941), Ball of Fire (1941), and Wuthering Heights (1939) also showcase his penchant for dramatic lighting and deep focus photography that shaped the look of 1940s Hollywood films.

What are some additional recent films commended for cinematography?

The dark, hazy digital cinematography of Only God Forgives (2013) by Larry Smith mesmerizingly captures the neon-drenched Bangkok nights and suffocating interiors. Deep red lighting dominates many scenes, alluding to the film’s violence.

In Mad Max: Fury Road (2015), John Seale’s kinetic action photography places viewers right inside speeding vehicles. Dynamic camera angles intensify the adrenaline. Blue night scenes alternate with sandy daytime vistas.

Darius Khondj’s lush 35mm cinematography in The Lost Daughter (2021) depicts the gorgeous coastal town. His controlled camerawork also effectively realizes the disquieting and mysterious tone. Khondji also shot breathtaking black-and-white photography for Woody Allen’s Midnight in Paris (2011).

Phedon Papamichael’s naturalistic cinematography grounded the action of Ford v Ferrari (2019) with realistic racing angles that convey speed. The camera moves intricately inside racing car cockpits. Lighting shifts from sunny daytime races to dimly lit night scenes.

In Parasite (2019), Hong Kyung-pyo’s nimble camerawork portrays the kinetic cat-and-mouse action inside the house’s narrow corridors, alternating between claustrophobic and freeing. He alternates between damp subterranean and crisp upscale lighting.

Are there additional foreign films recognized for standout cinematography?

In Amélie (2001), Bruno Delbonnel created an idyllic Paris with warm lighting and pops of color. His inventive angles, like shots through a glass of water, add visual interest. The green palette of Amélie’s world contrasts with blue in mundane scenes.

The mirror room shootout in Lady from Shanghai influenced John Woo’s iconic style, later seen in Hong Kong action films like Hard Boiled (1992) with kinetic camerawork by Wang Wing-Hang midst chaotic shootouts.

Ran (1985) contained spellbinding landscapes and majestic castle sieges shot by Takao Saitō and Masaharu Ueda. Ornate interiors intercut with foggy, sinister exteriors. Flaming red sunsets presage violence amid pastoral beauty.

In Oldboy (2003), Chung Chung-hoon’s cinematography contrasts between the murky jail sequences and the outside world’s sterile beauty. His dialogue scenes have an uncomfortable intimacy with the camera inches from the characters’ faces.

The dreamlike images of The Double Life of Veronique (1991) by Sławomir Idziak utilize natural lighting, with Veronique constantly emerging from darkness into light. Soft focus and radiant closeups add ethereal beauty.

What are some classic black-and-white films recognized for striking cinematography?

The striking chiaroscuro lighting and long shadows in Carol Reed’s The Third Man (1949) encapsulated postwar Vienna’s sense of desolation and unease. Nighttime scenes are alive with texture from light glinting off wet cobblestones. Canted angles accentuate the characters’ inner turmoil.

In The Maltese Falcon (1941), Arthur Edeson utilized low key lighting and shadows to craft stylish film noir visuals. Depth of field keeps background action in focus during dialogue scenes. Overhead shots build suspense. The camerawork captures Bogart’s quietly simmering presence.

Gregg Toland’s collaboration with William Wyler on Dead End (1937) broke ground with early deep focus cinematography that kept both foreground and background simultaneously sharp. Moving cameras captured the bustle of New York City streets. Realistic shadows of El tracks falling on buildings innovatively mixed studio and location footage.

The Cabinet of Dr. Caligari (1920) contained an Expressionist set design that distorted spatial perception, as shot by Willy Hameister. Strange angular structures and optical illusion backdrops unsettle the audience and encapsulate the schizophrenic title character’s psychology.

In Casablanca (1942), Arthur Edeson evocatively captured Rick’s Cafe as a literal last stop for lost souls fleeing to freedom. Chiaroscuro lighting crafts an atmospheric, smoky milieu. Edeson’s camera movements maintain visual interest during dialogue scenes between Rick and Ilsa.

What are some additional recent movies commended for their black-and-white cinematography?

Shot digitally in black and white, Oscar winner Roma (2018) contained haunting images by Alfonso Cuaron who served as his own cinematographer. Depth of field keeps both foreground and background action in simultaneous focus.

The atmospheric lighting by Łukasz Żal in Ida (2013) contrasts shadows and light. Compositions are framed like paintings, often positioning characters against windows or doorways. The 1.37:1 aspect ratio echoes cinema’s early roots.

Stark lighting symmetry punctuated by oblique angles crafted an off-kilter world in The Lighthouse (2019), shot in black and white by Jarin Blaschke. The claustrophobic 1.19:1 square aspect ratio adds to the encroaching dread.

Cold War’s high contrast and precise framing immersed viewers in the postwar period. Pawel Pawlikowski’s previous film Ida shared a similar aesthetic, with Ryszard Lenczewski serving as cinematographer. Dramatic lighting eloquently captures vulnerable moments between characters.

The digitally-shot Nebraska (2013) by Phedon Papamichael utilized natural midwestern light. Washed-out plains symbolizing Woody’s later years contrast with richer tones during his youth in flashbacks. Striking portraits of creased faces encapsulate the aging characters.

What are additional foreign films remarkable for their cinematography?

The Spirit of the Beehive (1973) contained evocative cinematography by Luis Cuadrado marked by hazy natural lighting, dreamlike landscapes, and subtle camera movements that follow the young protagonist’s psychology.

Throne of Blood (1957) rendered the misty, haunted world of Macbeth through the poetic cinematography of Asakazu Nakai. Fog shrouded forests heighten the mystery. Cecil Cave’s lighting crafts eerie shadows within Cobweb Castle.

In Dekalog (1989), Krzysztof Pakulski utilized a minimalist visual approach with restrained camera movement and exacting compositions. His striking imagery amplifies the weighty drama. Deliberate pacing allows scenes to breathe.

The mirrored shots in Oldboy, particularly the action scene played simultaneously forward and backwards, built on earlier innovators like The Lady from Shanghai. Chang Cheh’s The Blood Brothers (1973) also utilized mirrored environments during its martial arts showdowns.

The spiritual odyssey portrayed in Andrei Tarkovsky’s Nostalghia (1983) contained painterly shots by Giuseppe Lanci, including long takes drifting across ruined frescoes and water-filled churches, encapsulating themes of fading beauty and cultural memory.

What are some examples of visually impressive science fiction or fantasy films?

Ridley Scott’s Blade Runner (1982) revolutionized the visual language of sci-fi cinema with its neo-noir style. Cinematographer Jordan Cronenweth utilized light shafts piercing through smoky atmospheres, chiaroscuro lighting, and slow camera moves over dystopian cityscapes to create a haunting futuristic vision.

Director Stanley Kubrick pushed boundaries along with cinematographer John Alcott on 2001: A Space Odyssey (1968). Their innovative use of front projection, slit-scan photography, and specially engineered cameras captured the grandeur of space travel and extraterrestrial vistas never before seen in cinema.

The innovative “bullet time” sequence from The Matrix (1999) pioneered by cinematographer Bill Pope used an array of still cameras to allow the viewer to experience a frozen moment in 360 degrees. This iconic visual effect impacted subsequent sci-fi and superhero films.

Roger Deakins continued expanding the Blade Runner aesthetic with immersive atmospherics and seamless CG landscapes in Blade Runner 2049 (2017). Textured lighting and smoky interiors realized director Denis Villeneuve’s dystopian vision.

In Avatar (2009), Mauro Fiore’s 3D cinematography placed viewers within the alien moon Pandora through use of the simulcam, a VR headset allowing the camera to visualise CGI characters and environments. Bioluminescent jungles come alive with depth and detail.

What are some classic films recognized for their use of color?

Powell and Pressburger’s The Red Shoes (1948) contains enrapturing Technicolor cinematography by Jack Cardiff, with the titular red dancing shoes a visual anchor amidst backstage life saturated in rich hues. Contrasting warm and cool palettes accentuate emotions.

The magical realism of The Wizard of Oz (1939) came alive through Harold Rosson’s inventive use of Technicolor, especially the shift from sepia tone to dazzling color when Dorothy reaches Oz. Rosson utilized lighting and set design to differentiate color schemes between Oz and Kansas.

In Black Narcissus (1947), Jack Cardiff’s evocative use of color heightens mood and psychology, with tense scenes saturated in emerald green. Red dresses foreshadow doom against tranquil blue skies. Intense fuchsias underlight the nuns’ faces as repressed passions stir.

A revolutionary color film, Becky Sharp (1935) by Ray Rennahan and Harold Rosson was the first feature in three-strip Technicolor. Vivid color heightens the costume drama spectacle while Rennahan used color filters innovatively to create lighting effects.

The Court Jester (1956) contained ostentatious color schemes by Edward Colman alternating between yellow, purple, and green palettes per scene. This eye-popping stylization was groundbreaking for 1950s cinema.

What are some recent films also noteworthy for colorful cinematography?

Emmanuel Lubezki’s collaborations with director Alejandro G. Iñárritu have stunned with naturalistic use of color palettes, especially in The Revenant (2015), with icy whites and blue hues conveying cold wilderness, and reddish flames bringing warmth amidst a cold world of nature’s fury.

In Roma (2018), Alfonso Cuarón drew inspiration from the Autochrome color photography process to render a luminous visual tapestry, most exemplified by the forest fire scene’s crimson red flames amidst dense green foliage.

Dion Beebe’s digitally-shot Collateral (2004) excelled at capturing the sheen of nighttime Los Angeles through rich, desaturated blue and teal hues accented with neon and the luminosity of streetlights on wet pavement.

Caleb Deschanel crafted lush visuals for The Passion of the Christ (2004) through earthy color palettes inspired by Renaissance painters, with golden sunlight suffusing iconic moments to amplify biblical splendor.

Through intense primary color filters, Newton Thomas Sigel crafted surreal visuals for Julie Taymor’s Across the Universe (2007) that brought lyrical Beatles songs alive with each number’s distinct color scheme reflecting meaning and emotion.

What are some examples of impressive cinematography in animated films?

Pixar’s WALL-E (2008) contained visuals by Jeremy Lasky modeled after 70mm films like 2001: A Space Odyssey. The sci-fi pastiche utilized lens flares, elegant lighting, and compelling camera angles within computer animation to capture the epic adventure and vastness of space.

Roger Deakins served as a visual consultant on animated films like How to Train Your Dragon (2010) and was instrumental in framing shots and lighting sequences as if live-action, lending a sweeping cinematic style. Lighting and composition took inspiration from Lawrence of Arabia’s desert landscapes.

Cinematographer Caleb Deschanel collaborated with animators on Disney’s The Lion King (1994) to photograph actual African vistas that were then interpreted via animation. This visual research gave the film a strikingly authentic sense of scope and majesty.

Legendary cinematographer Conrad Hall innovated with light and shadows while shooting black and white storyboard animatics for the puppets in Tim Burton’s stop-motion film Frankenweenie (2012), giving scenes an emotionally expressive ambience.

Emmanuel Lubezki worked on storyboards and lighting reference for Pixar’s Cars (2006). His input on virtual camera movements and lighting design helped realize photorealistic animated worlds with principles adapted from live-action films.

What are some documentaries exemplifying great cinematography and camerawork?

In Planet Earth II (2016), sophisticated camera rigs captured never before seen wildlife behavior up close with unparalleled clarity. Flexible 4K cameras journeyed into inaccessible caves and descended deep underwater.

Matrix-like “bullet time” camera rigs revolutionized the visuals of nature documentaries like BBC’s Life (2009), allowing hypnotic perspective shifts around frozen moments to reveal details imperceptible to the naked eye.

Aside from time lapse photography of bloom cycles, Godfrey Reggio’s Koyaanisqatsi (1982) contained a mesmerizing portrait of urban life with slow motion and aerial photography conveying the enormity of cityscapes.

The pioneering underwater photography of Jacques Cousteau in The Silent World (1956) opened up Earth’s oceans and vibrant coral reefs for audiences through techniques like underwater cages and handheld cameras.

In his travelogues like Baraka (1992), Ron Fricke’s cutting edge 70mm cinematography immortalized natural and manmade wonders in transcendent detail and crystalline image quality, creating an immersive journey around the world.

What are some examples of impressive cinematography in silent films?

Sunrise: A Song of Two Humans (1927) featured stunning cinematography by Charles Rosher and Karl Struss. Their moving cameras, expressive lighting, and groundbreaking day for night shooting created visual poetry. The ominous storm scene exemplifies their artistry.

F.W. Murnau’s Nosferatu (1922) with cinematography by Fritz Arno Wagner used shadows, artificial landscapes, and superimpositions to craft Expressionist visuals encapsulating the horror and Romantic tones. Count Orlok’s climbing of the stairs remains an iconic shot.

The Last Laugh (1924) by Karl Freund contained innovative virtuoso camerawork like moving through the hotel lobby in one seamless take, elevating the camera to the level of characters. This mobile, unchained camera contrasts with stationary early cinema.

Gregg Toland learned techniques from his work as assistant cameraman on acclaimed films like The Eagle (1925) shot by Charles Van Enger who utilized forced perspective and mirror shots to portray expansive vistas and massive crowds on limited studio sets.

The Cabinet of Dr. Caligari (1920) exemplified German Expressionist cinematography with abstract, distorted sets and chiaroscuro lighting that externalized the psychology of characters. Strange angles unsettle viewers through the world’s twisted subjectivity.

How did cinematography evolve through the decades in Hollywood?

Deep focus cinematography developed by Gregg Toland in the 1930s allowed both foreground and background to stay simultaneously sharp, adding greater depth and realism compared to the shallow focus of the silent era.

Technicolor’s emergence in the 1930s allowed cinematographers to utilize color symbolically to heighten psychological and emotional states, as exemplified in films like Gone With the Wind and The Wizard of Oz.

The perfection of cranes, dollies and Steadicam in the 1940s enabled more kinetic, seamless camera movement without jump cuts, as seen in films like Citizen Kane and The Third Man.

Lightweight cameras liberated cinematographers, enabling shot flexibility, as exemplified by camerawork in films like The French New Wave’s Breathless and America’s Bonnie and Clyde in the 1960s.

Advances in lenses and film stocks in the 1970s allowed shooting in lower light, popularizing “American naturalism” gritty aesthetics in films like The Godfather and Taxi Driver.

The rise of digital cinema from the 2000s onward provided advantages like shooting without limit of costly film while introducing new possibilities like CGI integration.

What are some examples of unconventional cinematography challenging traditional rules?

Dutch angles, fisheye lenses, and experimental framing by Greg Toland on Citizen Kane defied classical Hollywood conventions to reflect the title character’s unstable psychology.

Extreme wide angle lenses and slanted, off-center compositions created visual tension in Orson Welles’ Touch of Evil (1958), shot by Russell Metty, conveying an increasingly unbalanced world.

The French New Wave films like Breathless (1960) frequently broke the “180 degree rule” having characters face opposite directions within shots, while jump cuts created discontinuity.

The “Quebec style” documentary aesthetic of the National Film Board of Canada eschewed glossy lighting and camerawork in films like Cinéma Vérité classic Chronicle of a Summer (1960), favoring handheld mobility.

Unconventional lighting and compositions by Robby Müller formed the radical visual style of 70s indie films like Jim Jarmusch’s Stranger Than Paradise (1984) that diverged from mainstream polish.

What are some examples of impressive steadicam work?

Pioneering steadicam cinematography in Rocky (1976) by Garrett Brown brought an elegant fluidity to the boxing and training sequences, immersing the viewer within the kinetic action through extended moving shots.

The influential long take steadicam shot trailing Danny on his tricycle through the Overlook Hotel corridors in The Shining (1980) built tension through movement, foreshadowing his encounter with sinister ghosts.

Steven Soderbergh favored steadicam for films like Traffic (2000), allowing controlled, floating camera movements through busy environments crammed with visual information for the viewer to process.

The groundbreaking Russian Ark (2002) by Tilman Büttner and Svyatoslav Basalaev was filmed in one 96-minute Steadicam shot through the Hermitage museum, capturing 33 rooms populated by costumed characters.

Martin Scorsese has masterfully used steadicam techniques in films like Goodfellas (1990) and Casino (1995) to immerse the viewer within chaotic worlds, notably the brutal steadicam tracking shot of Joe Pesci’s death in Goodfellas.

How has the rise of digital cinematography changed filmmaking?

Digital cameras have enabled shooting continuously without the limitation of film stock costs, allowing more experimentation with coverage through sustained long takes like the car chase in Children of Men (2006).

The ability to review and adjust camera framing or lighting immediately on set through digital playback has given cinematographers more creative flexibility and collaboration with directors.

Advances in digital color correction provide cinematographers great control over the final image’s color and contrast compared to photochemical film’s uncertainties. This allows for bolder stylization.

The clarity and sensitivity of digital sensors shooting RAW video has enabled pristine nighttime photography impossible on film, exemplified by Michael Mann embracing digital tools on Collateral (2004) and Public Enemies (2009).

Digital workflows have streamlined integration of computer generated effects and animation into live action photography, transforming visual possibilities as seen in The Curious Case of Benjamin Button (2008).

How has cinematography influenced different genres like horror films or crime thrillers?

Expressionist horror films like Nosferatu (1922) established stark contrast lighting with shadows engulfing characters, amplifying disturbing qualities. Cinematography sets the tone.

Visual tension in psychological thrillers is amplified through claustrophobic compositions, flare laden lenses, and a roving voyeuristic camera that implicates viewers as in Hitchcock’s Rear Window (1954).

The gritty, unrestrained handheld camerawork of films like The French Connection (1971) brought a raw, urgent realism to crime films while extended takes ratcheted up tension.

Surreal nightmare sequences rely on cinematography using skewed angles, jarring movement, extreme close-ups and atmospheric lighting to place viewers in an unsettling psychological space.

Slow tracking shots that reveal shocking sights, high contrast shadows obscuring threats, and voyeuristic killer POVs are cinematography techniques that define the slasher horror aesthetic.

What are some examples of impressive foreign language cinematography?

The dreamlike beauty created through soft focus, radiant backlighting, and gossamer fabrics in Ingmar Bergman’s films like Persona (1966) remains an exemplar of Nordic cinematic artistry.

French New Wave films like The Umbrellas of Cherbourg (1964) featured innovative use of primary color palettes with bold reds and greens defining character emotions and ideas.

The naturalistic cinematography of Akira Kurosawa’s classic Rashomon (1950) elegantly utilized light and shadow amidst forest scenes to capture the philosophical ambiguity of truth and memory.

Conrad Hall brought atmospheric lighting inspired by Caravaggio paintings to Michelangelo Antonioni’s first English film Blow-Up (1966), encapsulating the enigmatic thriller’s themes of illusion and perception.

The dreamy magic hour landscapes of Wong Kar-wai films like In the Mood for Love (2000) craft an intoxicating, romantic aura through backlit scrims and urbane rain-streaked cityscapes.

What are some examples of innovative cinematography in music videos?

The iconic one-take treadmill video for Okay Go’s “Here It Goes Again” (2006) required meticulously choreographed steadicam work by director Trish Sie to capture the inventive routine seamlessly in a continuous shot.

Director Mark Romanek collaborated with cinematographer Harris Savides to craft dreamlike imagery for Nine Inch Nail’s “Closer” (1994) using experimental lenses, black and white infrared photography, and reverse motion to heighten the dark sensuality.

Thriller (1983) contained groundbreaking cinematography by Bruce Logan, utilizing expressionistic shadows and backlighting to reinforce Michael Jackson’s shapeshifting persona amidst a noir-horror inspired world.

The mobile camerawork in Massive Attack’s “Unfinished Sympathy” (1991) poignantly realizes the singer’s vulnerable emotional state through slow-motion movement and lighting inspired by French New Wave films.

The David Fincher directed video for Aerosmith’s “Janie’s Got A Gun” (1989) utilized intense colors, ominous lighting, and off-kilter camera angles to amp up the dark, unsettling tone matching the shocking storyline.

How has lighting techniques evolved through different eras of filmmaking?

German Expressionist films like The Cabinet of Dr. Caligari used painted shadows and stylized lighting to externalize inner psychology, differing from realistic lighting of the period.

Deeply angled noir lighting popularized by John Alton in the 1940s created visual tension and introduced more dramatic possibilities through single key lights leaving most of the frame in shadow.

The low-key lighting approach of 1970s American films like The Godfather conveyed a sense of gritty realism that contrasted with the flat, evenly lit studio look dominant in classic Hollywood cinema.

Diffused lighting pioneered by Nestor Almendros on films like Days of Heaven (1978) provided a softer, more naturalistic look compared to the hard shadows and pronounced lighting of earlier eras.

Digital cinematography starting in the 2000s allowed for greater creative flexibility with lighting, as settings could be adjusted to realize the director’s vision in post-production.

What are some examples of different camera movements adding visual impact?

The groundbreaking zoom and dolly shot from Vertigo (1958) communicates acrophobic disorientation and obsession through its disorienting push and pull movement.

Quick whip pans that rapidly reveal new information can convey surprise, as seen in the famous bone/spaceship match cut from 2001: A Space Odyssey (1968).

The seamless long take combining different camera movements like cranes and steadicam eloquently realizes complicated blocking for scenes with extensive dialogue like in Goodfellas (1990).

Dynamic aerial photography can provide mesmerizing new perspectives on landscapes or action scenes that would be impossible from the ground, as demonstrated in films like Lord of the Rings.

Tilted angle Dutch shots place the world off-balance visually, often implying a character’s psychological turmoil or intoxication, as exemplified in Battleship Potemkin’s Odessa Steps sequence.

What are some examples of distinctive cinematography in TV series?

Breaking Bad made use of an unstable handheld camera style that brought a tense, kinetic energy reflecting protagonist Walter White’s unraveling world.

The richly saturated color palettes and idyllic landscapes of Big Little Lies realized the glossy affluence of its Monterey backdrop through evocative cinematography.

Game of Thrones brought epic fantasy to life through vast landscapes and scenic aerial photography capturing the grandeur of fictional kingdoms and massive armies.

House of Cards stood out for its extreme shallow focus photography isolating characters with pinpoint precision, visually underscoring themes of ambition and ruthlessness.

HBO series True Detective meticulously devised color schemes and lighting to reflect storylines thematically, most notably the acid green and shadowy darkness of Season 1 encapsulating corruption.

Conclusion:

In conclusion, the world of cinematography has brought us countless visually stunning movies that have left a lasting impact on audiences. These films have showcased the artistry and craftsmanship of cinematographers who have mastered the use of lighting, camera angles, composition, and movement to create breathtaking visuals that enhance the storytelling experience. From classics like Citizen Kane and Barry Lyndon to modern masterpieces like Blade Runner 2049 and The Tree of Life, these movies have exemplified the power of cinematography in capturing the essence of a story and evoking emotions through images1.

The best cinematography movies have shown us that it’s not just about capturing beautiful imagery, but about using visuals to tell a compelling narrative and connect with the audience on a deeper level. Cinematography is a language of its own, and the cinematographer is the director of photography who works closely with the director to bring their vision to life. Through the careful placement of cameras, the movement of the camera, and the composition of each shot, cinematographers create a visual language that supports the story being told.

They have the ability to influence the audience’s response and immerse them in the world of the film. The best cinematography movies have taught us valuable lessons about the importance of mastering all aspects of composition, from lighting to camera techniques2. They have shown us that cinematography is not just about capturing beautiful images, but about using visuals to enhance the narrative and create a unique cinematic experience. Whether it’s the breathtaking landscapes of Sicario or the mesmerizing colors of Amélie, these movies have left an indelible mark on the world of cinema..

They have inspired aspiring filmmakers and movie enthusiasts to appreciate the art of cinematography and its impact on the visual language of movies. In the end, the best cinematography movies are a testament to the power of visuals in storytelling. They remind us that cinematography is not just about capturing images, but about creating a visual language that speaks to the audience and elevates the overall cinematic experience. You should read >>> Atlanta Cinematography: Techniques, Lighting, and Visual Style to learn more about cinematography.

Dennis Gayirah

I am a highly experienced film and media person who has a great deal to offer to like-minded individuals. Currently working on several exciting projects, I am a film and media practitioner for over a decade. I have achieved a great deal of success in my professional career.