The Film Experience

Continuing our Oscar Volley series at The Film Experience. Eric Blume, Elisa Giudici, and Glenn Dunks talk Best Cinematography.

Greig Fraser shooting Timothée Chalamet in the desert for Dune (2021)

Eric Blume: Glenn and Elisa, Do we all agree that we probably have two "locks" for Best Cinematography nominations: Delbonnel for The Tragedy of Macbeth, and Greig Fraser for Dune? Those feel like two very worthy nominees to me. While I think Joel Coen's conception of his film is limited and flawed, I admired Delbonnel's execution of Coen's concept, really leaning into that austere Calvinist guilt like we got in Carl Theodore Dreyer movies, and stealing from Sven Nykvist's framing in Bergman movies...yet netting out in its own unique visual scheme to highlight those sets and costumes. And I thought Fraser's work made Denis Villeneuve's arid sci-fi epic surprisingly sensual, which helped the film (which is dense and heavy) enormously by taking you out of your head sometimes and back to your senses. Do you think both are locks? What are your thoughts on those two, and their closest challengers...

Glenn Dunks: Delbonnel is firmly in the 'we will nominate him for anything until you all give him the statue' phase of his career that recently saw Roger Deakins finally win. Unlike Diane Warren over in the music categories, his work is truly deserving of the win this time. I really hope the limitations of Apple TV don't hinder his chances. Dune, of course, is the complete opposite. A movie made not just for cinema screens, but giant IMAX screens at that. I have been a fan of Fraser since his early Australian work and the new work is exquisite and grand in ways that big budget spectacles too rarely are. I think you're correct to place these two right at the top of the favourites column with the edge going to the latter because the Academy have long had no qualms about the effects of digital post-production and visual effects on cinematography.

Ari Wegner, photographed by Kirsty Griffin, on location for Power of the Dog (2021)

I am far less enamoured by West Side Story than most in general; but as for other contenders, I do wonder why no major narrative has emerged around Ari Wegner for The Power of the Dog. She would be only the second female nominee in this category and first winner if a statue were to eventuate. Of course, we can't really know what Academy members are watching and discussing in yet another year of limited in-person events, but I can't imagine Wegner (also doing stellar work recently on Zola and True History of the Kelly Gang) isn't a big talking point among the branch. What do you reckon, Elisa?

Elisa Giudici: With Deakins, Richardson, and Lubeszki trio taking a vacation this Awards Season, there is finally more space than usual for others to earn a spotlight and finally grab the statuette! I have the distinct feeling that Ari Wegner is locked in too, giving us three locks. If The Power of the Dog emerges from the nominations' announcement as a clear front runner, which I think it will, I expect her position in this category to benefit enormously. Then Netflix will come out in creating a proper narrative around a win. Meanwhile, Jane Campion rarely forgets to praise Wegner’s work in promotion of the film. She even mentions Wegner's previous work often (Lady Macbeth and Zola in particular), portraying Wegner not as an Oscar newcomer, but as a name with a rock-solid background.

To Netflix's credit, I think the strategy here is trying (very quietly, very wisely) to frame The Power of The Dog as “a movie made by amazing artists who deserve to be recognized”, avoiding "the female label" as the only possible framework, while casually mentioning here and there that some of them are women.

But, objectively speaking, Delbonnel and Fraser are the heavyweights. As for the other two slots, I suspect Janusz Kaminski will suffer the inevitable comparison with the iconic cinematography of the older West Side Story. Maybe the stylistic choice of dusting and muting down color palettes made by Steven Spielberg is not helping Kaminski's work garner kudos?

Kaminski doing a light reading on Mike Faist on the set of West Side Story (2021)

Eric Blume: You make great points about Ari Wegner. Agreed that Netflix is being particularly savvy about the campaign, positioning The Power of the Dog as *the* artistic achievement of the year without being crass about it. I hadn't put it together as smartly as you have, but agreed that they're putting a de-emphasize on the "woman cinematographer" of it all in a smart way and just packaging everyone as artists of the highest order (which, by the way, they are!).

We all agree on Wegner as the third, so let's talk about those other two slots and move onto personal favorites and underdogs. It's interesting to me that we all feel Kaminski stands about a 50/50 shot at a nod. It's tricky because while West Side Story quote-unquote "looks fantastic," Kaminski's contributions don't seem to be particularly singular. To me the movie felt more "thoroughly professional" than incredibly inspired. Many of the choices appear to be made just to be UNLIKE choices made in the 1961 version (I liked this new version just fine, but it's not the 1961 version). Which makes me think the fourth nominee will be Dan Lauststen for Nightmare Alley, which just feels like a movie the members of the Cinematography branch would have watched based on that vibrant color.

I also feel like there's always one surprise on Oscar morning in this category. So maybe Robert Yoeman for The French Dispatch, as they've nominated him previously for The Grand Budapest Hotel? Or previous winner Linus Sandgren for No Time To Die? I must say neither are great choices in my book, but the Academy often defaults to artists they've liked before. Glenn, what are you thinking for the other two nominations?

Dan Laustsen on the set of Nightmare Alley (2021)

Glenn Dunks: I would prefer Kaminski over Laustsen if it comes down to a battle of the Hollywood remakes (re-adaptations if you want). Kaminski's work in particular has moments of real beauty as well as grime, which is probably the correct way to have gone about the story in 2021, but neither really do enough for me. Nightmare Alley with its look of dark varnish did not impress me at all, but again, if the other option is Haris Zambarloukos's work for Belfast then I would prefer the former. I would really like a cinematography voter to tell me what exactly about Belfast's work is so impressive. What specifically about the framing and the use of black and white are they responding to? And then show them stills from Passing. I suspect they'd um and ah.

Predictions:

Dune
Tragedy of Macbeth
The Power of the Dog
West Side Story
Belfast

I feel like a somewhat weaker year for cinematography is bearing itself out in a weak slate of nominees with West Side Story and Belfast there as if by Best Picture default. To harken back to a bit of a deep cut, I really hope there's a Malena in the field—a 2000 nominee that came entirely out of the blue (seriously, look up that film's award history). I can't figure what surprise could appear, but I just hope there is one. I'll take (almost) anything at this stage.

Elisa Giudici: You're poking me with this Giuseppe Tornatore’s Malena reference, aren’t you? LOL. I would prefer a completely out of blue, over the top and incongruous nomination than a boring, predictable and not so deserving one. Belfast is not the first or even the second-best usage of "black and white for a polished, nostalgic framing of a story” in 2021, and yet it will probably make it. Unless of course, the movie underperforms as an Oscar contender.

Director Cary Joji Fukunaga and DP Linus Sandgren discussing a shot in No Time To Die (2021)

I kind of want to believe No Time To Die can steal Belfast’s slot but that's more of a wish than a prediction. It is not that Linus Sandgren’s work is that impressive, but I tend to prefer his choices in the continuity of Bond's tradition to Dan Laustsen's work in the noir genre's frame. Are there more deserving titles? Yes, but I intercept some late buzz on Sandgren and he can benefit from the Mendes/Deakins artistic makeover of the Bond franchise.

Speaking of franchises looking for recognition... if Disney/Sony/Marvel succeed in their attempt to make No Way Home happen, well, watch out for Mario Fiore as our Malena. No Way Home's FYC campaign is a late, half attempt, but an "in all categories" one. It would be a shock for sure but I don't see it as 100% impossible if Academy starts feeling the "more blockbusters!" pressure. Or maybe our Malena of 2022 will be one of Dariusz Wolski's two entries? He has two Ridley Scott movies to play with (House of Gucci / The Last Duel) . It is not as out of blue as Tornatore in 2000, but it would be...interesting.

And yes, I am totally teasing you with these two Malena scenarios. Very unlikely!

Claire Mathon on the set of "Spencer" shot by Pablo Larraín

Eric Blume: Before we wrap, let's talk about some personal preferences. I know Spencer is wildly divisive, but I was mesmerized by Claire Mathon's work, which I thought was a key contributor towards the film's dreamy, uncomfortable energy. Plus she made smart, practical use of both close-ups and wide shots: the camera is sometimes practically on top of Kristen Stewart when Pablo Larraín wants his signature claustrophobia, and then when we cut to those wides of the castle and grounds, it has none of that Masterpiece Theater sharpness, and instead we get a damp, hazy landscape. I also admired the black-and-white schemes in both Robbie Ryan's contributions to C'mon, C'mon and Edu Grau's lensing of Passing. Ryan evokes Gordon Willis' Manhattan feel and gives the film a texture that raises it out of its domestic settings while Grau's photography often looks like a real film from that time. I think the framing he and Rebecca Hall come up with is sometimes a little self-conscious, but you can tell they were trying to make artful choices and give the movie a trapped-in-time urgency.

Occasionally this branch gives us a surprise foreign nominee, but it would have to be a huge shocker this year because I'm not sure where it would come from? Maybe Ruben Impens for Titane? That seems awfully outre for this group of mostly old men? The American Society of Cinematographers went for Titane for its Spotlight Award but kept their top category nominees in the same pool that we're discussing. Glenn and Elisa, what are some of your personal favorites this year?

Andrew Droz Palermo on location for The Green Knight (2021)

Glenn Dunks: The obvious answer for me is Ari Wegner again, but this time for Zola. Such a zig from her earlier zag. I was also a big fan of Andrew Droz Palermo's work on The Green Knight. His was not a name I was familiar with, although it turns out I have seen his work before. This was a big step up and it will be a shame to see the film's mighty tech work go all but unrecognised. I have also been talking up the aforementioned Darius Wolski's work for The Last Duel, which played with shadow and light in fun, cinematic ways that added to that film's more old school entertainment vibe.

Elisa, to end this volley about the cinematography race, let's leave with one singular image of beauty from this year. What image will you never be forgetting?

Elisa Giudici: The talk between Paul and Lady Jessica in Dune, right after the Bene Gesserit spaceship has taken off. The dialogue marks a turning point in their relationship. Paul realizes his mother wants him to be the Chosen One and has manipulated their relationship accordingly. Lady Jessica worries for the future of her son, heartbroken for the pain he has endured because of her political aspirations. The scene takes place on a misty, grey night. The two speakers are far from each other, able to distinguish the outline of each other’s body and face but not to read facial expressions. Immersed in the mist, the mother isn’t able to see her son anymore; is he still her child or already a prophet? On the other side, some metaphorical mist has been dispelled. For the first time in his life, Paul sees his mother's political game. This is going to change their relationship forever. The images are soft and foggy while the words spoken are harsh, heavy with a sense of mistrust and betrayal. The essential, rigorous silhouette of the two characters, the contrast between their pale faces and the black robes they are wearing, the rainy nothingness of the background. Other directors and DPs would have outlined emotions very clearly here, Villeneuve and Fraser instead use composition, mist, and shadow to show the impossibility of understanding or forgiveness, and shared uncertainty about the future.

Two other quick mentions: The ending scene of A Hero, the contrast between the dark and the bright side of the frame. And the red light surrounding the two protagonists of Compartment No 6 during their embrace, his eyes shining with emotion and tears, barely emerging from the shadows.

Predictions

Dune
The Power of the Dog
(which are also my two favorite contenders in the category)
Tragedy of Macbeth
Belfast (seems unavoidable)
No Time To Die

Eric Blume: Your list of nominees sounds highly likely to me, and I’d second Glenn’s praise for The Green Knight. That would be a wonderful surprise. We'll find out who the official nominees are on February 8th.

How about you, readers: Predictions and preferences in Cinematography please!

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