Best Cinematography: Ranking Every Oscar Nominee
Written by Andreas Babiolakis
We’ve reached the final visual tech award: best cinematography. This is one of the most fundamental elements to a film, in my opinion. This goes beyond just making focal points look nice. What films are framed the best? Which shots panned, moved, and were handled to astonishing effect? Which films used lighting to their advantage? I never feel like this category misses. Outside of the snubs of great films each year, I don’t think any nominees are ever not worth it when they make the final five. This year is no different. While I feel like there are some glaring omissions (more on that soon), the five nominated DOPs (directors of photography) all did strong work in their respective films. Here are your nominees.
Biggest Snub: The Banshees of Inisherin-Ben Davis
So, yes. We’re also missing Top Gun: Maverick, The Batman, Nope, Decision to Leave, Aftersun, and many more. My pick for the biggest snub is The Banshees of Inisherin, which was one of the best looking films of 2022 to me. I thought of the poetic cinematographic work present in the films of John Ford, Ingmar Bergman, and Robert Bresson when watching this picture. I could appreciate the view amid all of the chaos, and the yin and yang of loving and hating one’s motherland can be felt throughout this gorgeous picture.
5. Elvis-Mandy Walker
I think the cinematography in Elvis best enhances the colours and sets as much as possible, but my main issue (and it’s no fault of Mandy Walker) is that the editing is so fast that I don’t know if I appreciated the photographical work here as much as I should have. There are many strengths in this sleek looking film, and it is only last because I refuse to do ties on these rankings. However, I think that Elvis is a well shot film but not necessarily the best shot film of the year. Still, it’s easy to see why the work here was nominated, since Elvis picked up so many other tech nominations and it is nearly three hours of visual sugar to enjoy.
4. Empire of Light-Roger Deakins
While Empire of Light is most certainly well shot (its use of reflections and silhouettes is really nice), I feel like it is here only because we had Sir Roger Deakins behind the camera. While this film feels like another-day-in-the-office for the legend, it’s still a very nice looking film in a general sense. However, outside of key moments that really pop (again, thank Deakins), I don’t know if I would declare Empire of Light the best looking film of the year either, or even a major contender. I think this film is here because it wasn’t going to be nominated for anything else (outside of Olivia Colman, who didn’t get the nod), and the major backers for the film knew Deakins was a sure bet. Great looking film. Kind of a predictable, so-so nominee, all things considered.
3. All Quiet on the Western Front-James Friend
Overall, All Quiet on the Western Front possesses a nice, concrete grey look, but none of the subjects blend together: you can still make out what is going on at all times. The framing of the wartime chaos is well handled (let’s not forget the precise pans and glides that capture these sequences as well), and the occasional flexes (moments that use natural lighting to their advantage) are the key examples that make this film stick out in such a discussion. While the film won’t be known solely for how it looks, you can’t deny that it is shot well enough to stick up for itself in this category.
2. Tár-Florian Hoffmeister
Okay. Now we’re entering the big leagues. Tár is brilliant with its framing, particularly when it comes to the precise mise-en-scene (some of the best of 2022). The panning is reserved for exactly the right moments, including one of the strongest long-shots I’ve seen in a while. Then there’s the fact that everything looks gold, bronze, and sepia throughout the film, as we are plunged into the tapestry of the colours of a classical orchestra. There are finally moments with one-off flexes that stand out just to show that Florian Hoffmeister knows what he’s doing. If it wasn’t for one other film, I would call this the flat-out winner.
1. Bardo, False Chronicle of a Handful of Truths-Darius Khondji
For me, this is a no brainer. Bardo is jaw-dropping with its cinematography (Iñárittu doesn’t miss with his DOPs). The natural lighting (or what appears to be natural lighting) is — hands down — the best of last year. Every single shot was its own masterwork. Everything from the framing to the use of shadows and lights just felt exactly as it should in every single instance of this nearly three hour affair. It was the cinematography that kept me watching when Bardo would slow down due to its own distracted nature. Bravo, Darius Khondji. You helped make what is most likely the best looking film of 2022. I almost feel compelled to revisit this film — despite its issues — just to experience its photography all over again.
My review of Bardo, False Chronicle of a Handful of Truths
Who I want to win: I would love if either Bardo or Tár won the Academy Award.
Who I think will win: I know Bardo doesn’t really have a chance, which breaks my heart. Tár may pick up some steam in the next few weeks in this category. Otherwise, I’ve heard enough rumblings around All Quiet on the Western Front to currently name that the frontrunner.
Tune in tomorrow for our next Academy Award category! We’re reviewing every single nominee on every weekday.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Toronto Metropolitan University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.