It’s Autumn Season for Best Cinematography

By Juan Carlos Ojano

Ryan Coogler and Autum Durald Arkapaw while filming SINNERS. (Courtesy: Eli Adé)

After 98 years, history might just be made in Best Cinematography. Autumn Durald Arkapaw, the cinematographer of SINNERS, is the current frontrunner for Best Cinematography, the last non-gendered Oscar category yet to have a female winner. Born of African-American and Filipino descent, Arkapaw has worked for more than a decade. Her resume includes Palo Alto, Teen Spirit, Black Panther: Wakanda Forever, and The Last Showgirl. In Sinners, Arkapaw already made history for being the first female cinematographer to have shot a film on large format IMAX film.

The history of women nominated for this category has unfortunately been short and recent. The list includes...

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VistaVision @ the Oscars

by Cláudio Alves

With The Brutalist, Brady Corbet and cinematographer Lol Crawley revived VistaVision for a 21st century cinema. In the process, they also brought the format back to the Oscar stage, becoming the first film since Alfred Hitchcock's To Catch a Thief to win the Best Cinematography Oscar for a VistaVision lensing. If you've read my reviews over the years, you might have noticed I have a passion for film form. This fascination encompasses the innovations that took over the medium in the midcentury, with the introduction of new aspect ratios, processes, and techniques after decades under the 4:3 Academy ratio hegemony. 

I really love VistaVision, a happy medium between more extreme widescreen propositions and the classical square-ish proportions that dominated pre-1950s cinema. It's quite beautiful, harmonious and the technique itself lends itself to rich images, full of detail, crisp yet not in the sometimes bloodless way of digital filmmaking. But what is VistaVision exactly? And how have films shot in this widescreen variant performed at the Oscars? Let's find out…

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NYFF '24: "Afternoons of Solitude" is a Barbaric Beauty

by Cláudio Alves

When I was very young, I remember being besotted by bullfighting. Around where I grew up, the so-called art of the "tourada" was fundamental to the local culture, a noble practice to be celebrated. My parents were a tad horrified by my interest, and I was an ignorant child. For some reason, I had never realized what was happening in the arena, too blinded by the matador's glamorous figure, the dance-like spectacle, and the thunderous applause. But seeing it live and then watching TV recordings, I realized something. What I thought were theatrical tricks and mud were actual violence and blood splatter. Back then, I dreamed of being a vet, so the thought of all that animal pain made me feel nothing but revulsion for what I once found beautiful.

I was reminded of this while watching Albert Serra's Afternoons of Solitude, a documentary on Peruvian-born "torero" Andrés Roca Rey which earned the Catalan director the biggest prize at this year's San Sebastián Film Festival. For once, I saw some of the beauty again, along with the brutality and the horror. I felt tears in my eyes and nausea erupt from within. Quite the cinematic experience…

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"Close Encounters of the Third Kind" in 30 Perfect Shots

by Cláudio Alves

Years ago, as part of the dearly departed Hit Me With Your Best Shot series, the Film Experience hosted a celebration whose theme was the 1977 Best Cinematography Oscar nominees. Much was written about the contenders' beauty, their visual storytelling, and aesthetic vices. None was more praised than Steven Spielberg's Close Encounters of the Third Kind, whose lensing earned Vilmos Zsigmond a well-deserved Academy Award. It was the film's only victory on Oscar night, partly because another seminal work in American sci-fi stole its thunder. Even so, Spielberg's creation endures, as miraculous as it ever was.

American audiences now have the privilege of revisiting the film in a new 4K restoration. Last weekend, it played in selected theaters as a special event, and there's an encore this Wednesday. Oh, how I wish I could experience it on the big screen. In lieu of that, I re-watched the film at home and decided to write about thirty of its best shots – and there are so many perfect ones! Consider this my lengthy and much-delayed contribution to that Hit Me With Your Best Shot of years past…

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Beauty Break: When Almodóvar met Alcaine

by Cláudio Alves

Starting yesterday, Strange Way of Life is streaming on Netflix. To commemorate the occasion, I thought about diving into the collaboration between Pedro Almodóvar and cinematographer José Luis Alcaine, a recurring creative partner since they filmed Women on the Verge of a Nervous Breakdown back in the late 80s. Even though I had issues with the short film, its lensing wasn't one of them. Indeed, playing with Western iconography and Saint Laurent fashions, Strange Way of Life is as visually enchanting as one would expect from something bearing the Spanish auteur's signature. When everything else fails, Alcaine creates hyper-artificial frames, popping with bright colors and luster…

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