Newton Thomas Sigel
for Drive
Reminiscent of Dante Spinotti's best work with Michael Mann in the way Sigel photographs Los Angeles like a dark, looming, chameleon-like character in the narrative.
Alwin H. Küchler for
Hanna
Fast-paced and frenetic, like the film itself. Very clearly envisioned and executed stylized photography that really clicks.
Manuel Alberto Claro for Melancholia
Perfectly suited for Von Trier's piece. Lush, long, drawn out shots (very much like the narrative), the photography drinks in everything that's going on at the house. The ending sequence is spectacular.
Sean Bobbitt for Shame
Serves Brandon's arc so well, as the cinematography helps us feel his emotional claustrophobia. Even exterior shots feel like the world is closing in on him.
Emmanuel Lubezki for The Tree of Life
A consensus pick for a reason, Lubezki tops himself here. His work with Malick on The New World was breathtaking, in a completely different way. The shots of the O'Brien home and the twenty-first century business world are just as considered and beautiful as the shots of nature.
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