You probably know by now that we wouldn’t even risk not talking about the unexpected yet glorious return of VistaVision, with none other than The Brutalist cinematographer Lol Crawley!
Brady Corbet’s third feature’s been the talk of the town ever since it’s buzzy Venice premiere and Silver Lion win.
Lol tells us not only about his approach to photographing buildings, but what makes his collaboration with Brady go, and we even try to define the undefinable: beauty.

(Photo: Courtesy of A24)

Our coverage of one of 2024's most masterfully crafted films wouldn’t be complete without the mind responsible for executing its extraordinary visual language. So, with that, we present our breakdown of Nickel Boys, featuring cinematographer Jomo Fray.
Among other things, Jomo tells us about how he is choosing projects, the evolution of the film’s unique look, and the creative process behind it, as well as the subsequently obvious, yet unexpected challenges the team faced along the way.

2024's final episode features cinematographer Rina Yang, who joins us to discuss her work on The Fire Inside, the debut feature from cinematographer-turned-director Rachel Morrison.
In our chat, we dig into the challenges of capturing the inspiring yet painfully real story of boxer Claressa Shields, from adapting to the Flint, Michigan setting to incorporating different lighting techniques into the story and production.
Rina also shares insights on avoiding sport biopic clichés, creating an authentic visual language, and the connections between her and Shields’ journey.

(Photo credit: Tram Kolluri / MGM Studios)

The Peanut Butter Falcon, you remember that one, right? Well, the directing duo of Michael Schwartz and Tyler Nilson are back with Los Frikis! And what’s more punk than staying in the world of indies instead of chasing a big studio deal?
In our in-depth conversation with the two, we dive into the creative decisions behind their follow-up to their debut feature, their choice to take a universal story to early ‘90s Cuba, and the ever-evolving (but not always for the better) landscape of independent moviemaking.

(Photo credits: David Alan Harvey / Los Frikis)

We don't talk enough about the cinematography of documentaries. But we should. And this time, we did.
Daughters premiered in January at Sundance and was released on Netflix in August. The film, co-directed by Natalie Rae and Angela Patton, centers on and follows four young girls preparing for a special Daddy-Daughter Dance with their incarcerated fathers. This event is part of a unique fatherhood program in a Washington, D.C. jail. For most of these girls, the dance is their only opportunity to touch or hug their fathers during sentences that, in some cases, span as long as 20 years.
A film this heartfelt calls for an equally compelling conversation, and Michael Cambio Fernandez, the documentary's cinematographer, delivered exactly that.
In our chat, Cambio walks us through not only his early works but also his life before becoming a cinematographer, his involvement in Daughters, how he navigated its most challenging moments, and how he found the balance between the intentional and unexpected directions the story took.

The series adaptation of Gabriel García Márquez’s One Hundred Years of Solitude has captivated audiences for a week now in its highly anticipated series adaptation. While a story of this scale requires time to fully absorb, we’ve got a little “nudge” to help you dive deeper: our interview with the TV show’s cinematographers, Maria Sarasvati Herrera and Paulo Perez.
In this conversation, they take us behind the scenes, sharing not only the journey of bringing the show to life but also their personal reflections on reading the novel and envisioning its world, plus cross-border heritage.

To start the week strong, we sit down with cinematographer Markus Förderer and production designer Julian M. Wagner to discuss their work on Tim Fehlbaum’s September 5.
The duo shares their initial reactions to the script, how they approached the sensitive subject of the Munich massacre, and the extensive research that went into their technical and material decisions, in order to ensure that the gravity of the event is honored with precision.

After its world premiere in late August at the Telluride Film Festival, the adaptation of Colson Whitehead’s 2019 novel, Nickel Boys has taken festivals, awards season, and audiences by storm over the past few months.
We had the opportunity to sit down with writer-director RaMell Ross after a screening and Q&A of the film at the Camerimage Festival, where it played as part of the Directors’ Debut Competition. Then, a week before RaMell’s masterpiece (yes, you read that right) releases in a limited number of theaters, we connected with the two leads, Ethan Herisse and Brandon Wilson, who portray Elwood and Turner in the acclaimed film.
Our conversations with the three of them cover the crucial topic of the film’s visual language, both behind and in front of the camera, along with the unexpected challenges and the weight of the responsibility that comes with striving for authenticity.

(Photo credits: L. Kasimu Harris / Orion Pictures / Amazon Studios)