Cinematography
Interview
Cinematographer Jarin Blaschke tells IndieWire, “There's an aversion to beauty and being earnest these days, a kind of a grunge going on. It’s nice to strive for beauty and have no embarrassment about it."
"The Room Next Door" cinematographer tells IndieWire about rising to the challenge of working for one of his childhood heroes.
The IndieWire craft team celebrates the cinematography of series that premiered this year, including "Ripley" and "Somebody Somewhere."
The best cinematography of 2024 movies includes massive studio films like "Dune: Part 2" and singular indies like "I Saw the TV Glow."
Director of photography Markus Förderer tells IndieWire about the techniques he used to give his historical thriller a broad sweep without betraying its limited point of view.
Return to Oz
Cinematographer Alice Brooks discusses her special lighting design for Oz based on different colors of the rainbow, keying on the emotional journey between Elphaba and Glinda.
SOMETHING TO PUT STOCK IN
The year's fall/holiday releases shot on Kodak film include Robert Eggers' "Nosferatu," Pablo LarraÃn’s “Maria," Brady Corbet’s "The Brutalist," and Luca Guadagnino’s "Queer."
Genre Savvy
Cinematographer Tari Segal tells IndieWire about the bold lighting and camera choices needed to create the different worlds that Willis Wu (Jimmy O. Yang) must navigate.
Wheels Within Dolly Wheels
Cinematographer Pierre Gill understood what a Dune story needs — after all, he worked on Denis Villeneuve's "Dune."
No Hacks Here
Hannah Einbinder and cinematographer Adam Bricker tell IndieWire about making the camera part of the act in Einbinder's comedy special.
Cinematographer John Mathieson tells IndieWire about returning to the world of "Gladiator" and why shooting with multiple cameras is the right choice, even when it compromises his lighting.
Summer Vibes
DP Kristen Correll tells IndieWire about her collaboration with director Megan Park and creating a timeless look for coming-of-age stories.
