All posts tagged: Cinematography

Autumn Durald Arkapaw makes history as first woman to win cinematography Oscar

Autumn Durald Arkapaw makes history as first woman to win cinematography Oscar

Published by Daniella Wilson

Get the latest entertainment news, reviews and star-studded interviews with our Independent Culture email Get the latest entertainment news with our free Culture newsletter Get the latest entertainment news with our free Culture newsletter Autumn Durald Arkapaw has made history, becoming the first woman to clinch the Oscar for Best Cinematography. The 46-year-old American was recognised for her groundbreaking work on Ryan Coogler’s film, Sinners. Her win underscores a remarkable journey in a profession historically underrepresented. Arkapaw, whose diverse credits include Black Panther: Wakanda Forever, The Last Showgirl and a Rihanna music video, once struggled to find many women in the field beyond Ellen Kuras (Eternal Sunshine of the Spotless Mind). While more women work in cinematography today, Oscar nominations have remained rare. Only three women preceded her: Rachel Morrison for Mudbound (2018), Ari Wegner for The Power of the Dog and Mandy Walker for Elvis. Arkapaw was also the first woman of colour nominated. Sinners itself was already a landmark project for women in cinematography, as Arkapaw was the first woman to shoot a …

Autumn Durald Arkapaw of ‘Sinners’ becomes first woman with Oscars win for best cinematography

Autumn Durald Arkapaw of ‘Sinners’ becomes first woman with Oscars win for best cinematography

Published by Sam Flores

Autumn Durald Arkapaw made history Sunday night when she took home the Academy Award for best cinematography in Ryan Coogler’s Southern gothic, genre-bending film “Sinners.” Arkapaw asked all the women in the room to stand up during her acceptance speech because “I don’t get here without you.” “I have felt so much love from all the women on this whole campaign and gotten to meet so many people, and I just feel like moments like this happen because of you guys,” she said. Arkapaw is also the first Black cinematographer to win this award. Director Ryan Coogler and director of photography Autumn Durald Arkapaw during the filming of “Sinners.”Eli Adé / Warner Bros. Director Coogler and Arkapaw took on an immense task when they decided to make “Sinners” the first film shot entirely in two different large formats: Ultra Panavision 70 and Imax. Their approach was historic not only because it was the first time these two formats had ever been combined on a feature. It was also the first time a woman cinematographer had …

2026 ASC Awards Full Winners List

2026 ASC Awards Full Winners List

Published by Daniella Wilson

One Battle After Another’s Michael Bauman has won the American Society of Cinematographers’ top prize for work on a theatrical feature-film, setting the Oscar nominee up as the front-runner to win the Academy Award in exactly one week. To this point, the race has been considered a nailbiter: Bauman also won the BAFTA, Train Dreams’ Adolpho Veloso won the Spirit Award, and Sinners’ Autumn Durald Arkapaw dominated the critics’ awards circuit (she’d be the first woman ever to win the cinematography Oscar). The list of nominees was rounded out by Frankenstein’s Dan Laustsen and Marty Supreme’s Darius Khondji, both of whom are also nominated at the Oscars.  This is the second time in three years that the ASC Awards and the Academy landed on the same lineup of cinematography nominees. (Last year, the guild oddly expanded its nominations slate from the usual five to seven, but still blanked the Oscar-favored Emilia Pérez.) When it comes to winners, however, the voting bodies have matched for best cinematography only six out of the last 10 years, going …

One Battle After Another Wins Society of Camera Operators Prize

One Battle After Another Wins Society of Camera Operators Prize

Published by Daniella Wilson

Chalk up another award-season win for One Battle After Another. Colin Anderson has taken the prize for camera operator of the year in film for his work on the Paul Thomas Anderson epic, whose tableaux went from armed border areas to desert highway chases. The Society of Camera Operators honor comes on the heels of a slew of technical prizes for the movie, including from the American Cinema Editors, the Art Directors Guild and the British Society of Cinematographers; the American Society of Cinematographers decides Sunday. The award was announced in a livestreamed ceremony Saturday night. On the television side, Mark Goellnicht won for camera operator of the year for his work on the acclaimed “The Oner” episode of Apple TV+’s The Studio, in which Sarah Polley’s character attempts to direct a movie and Seth Rogen’s tries to oversee it in a one-take hourlong chaos extravaganza. Goellnicht is a veteran operator with Mad Max: Fury Road and The Great Gatsby among his credits. Camera operators work closely with cinematographers and directors to ensure the equipment …

‘The Ancient and Long-Forgotten Language of Cinematography’ | Gabriel Winslow-Yost

‘The Ancient and Long-Forgotten Language of Cinematography’ | Gabriel Winslow-Yost

Published by Jenni Sidey

Films are rarely made in response to film critics, so it is unlikely that Bi Gan’s wildly ambitious new film was inspired Susan Sontag’s 1996 essay “The Decay of Cinema.” In any case, Bi was six years old, living in Kaili, China, when Sontag declared in The New York Times that “cinema’s 100 years seem to have the shape of a life cycle: an inevitable birth, the steady accumulation of glories and the onset in the last decade of an ignominious, irreversible decline.” “If cinema can be resurrected,” she concluded, “it will only be through the birth of a new kind of cine-love.” Yet Resurrection, as Bi’s film is called in English (its Chinese title is more like “Savage Age”—Bi has made a habit of giving his movies quite different titles in English and Chinese), seems conceived in exactly those terms. Its action spans that same century of movies, unified less by any continuity of plot than by the conviction that this era has come to an end. Cinema is dead. It may yet live …