Top 100 World Best Cinematography films.


BEST 100
1. The New World - Malick, Lubezki 2. The Thin Red Line - Malick, Toll 3. Days of Heaven - Malick, Almendros 4. Barry Lyndon - Kubrick, Alcott 5. Legends of the Fall - Zwick, Toll 6. Baraka - Fricke 7. Braveheart - Gibson, Toll 8. In the Mood for Love - Wong, Doyle 9. Citizen Kane - Welles, Toland 10. 2046 - Wong, Doyle

11. 12. 13. 14. 15. 16.

once upon a time in the west Apocalypse Now! amadeus The Wind and the Lion The Last of the Mohicans Body Heat

28. paris texas chili peppers Psycho Blow Traffic Shawshank Redemption Man on Fire Usual Suspects . 18. Cool Hand Luke Blade Runner L.17. 24. 19. 30.A. 22. Confidential The Last Picture Show Shindler's List The Conformist Ran Butch Cassidy and the Sundance Kid Raging Bull Badlands. 29. 26. 25. 32. 20. 21. 31. 34. 33. 23. 27.

49. 42. 51. 36. 41. 47. 44. 40. 39. 46. 52. 37. 50. Seven Dances With Wolves Forest Gump Lawrence of Arabia Touch of Evil The Last Picture Show Yojimbo The Killing Fields Amélie The Twilight Samurai Road to Perdition In the Mood for love Ben-Hur Far and Away O' Brother Where Art Thou? Repulsion Chinatown Oliver Twist .35. 38. 48. 43. 45.

Tom Elling Blood Simple . So Close . 61. l'avventura Red / Beatty 2001: A Space Odyssey / Kubrick Seven Samurai / Kurosawa Titanic Unforgiven Stalker / Tarkovski Vertigo / Hitchcock The Element of Crime . 55. 63. 59.Barry Sonnenfeld Godfather 1 & 2 Empire of the Sun Frida Pan's Labyrinth An Angel at my Table The Man with the Movie Camera Battleship Potempkin Far Away. 57. 66. 54. 70. 62. 60. 56.53. 58. 68. 67. 69. 65. 64.

82. 81. 76. 87. 88. Before the Rain The Match Factory Girl Time of the Gypsies Spirit of the Beehive The English Patient Memoirs of a Geisha The Piano The Horse Whisperer Amorres Peros Children of Men The good the bad and the ugly Come and see Two men and a wardrobe After Life The red light bandit See you in hell friends The Bride with White Hair" Raise the Red Lantern". 86. 73. 72. 80. 83. 85. 84. 78. 77. 74. . 75.71. 79.

.89. The last few years though I have begun to feel that great cinematography is what style and pictures best tell the story. **** "Red Sorghum Andrei Rublev Nazarin" The heart of glass The shop on main street The virgin spring The Passion of Joan of Arc "Rashomon Full Metal Jacket 400 Blows Last Tango Snow Falling on Cedars Top Ten Directors of Photography For many many years I had always felt great cinematography was the film with the most beautiful lighting and pictures. 94. 100. 92. 97. 91. 95. 93. 96. 90. 98. 99.

or Büttner. There are lots of shots and lighting in it that simply look very poor. Stuart Dryburgh (The Piano). This raises an altogether different query than the one I mentioned in the introduction to . It’s a pseudonym employed by Steven Soderbergh. Each antelope knows that if it can't out run the fastest Lion it won't see the next morning. but yet its look.An exampleof this for me this year was Children of Men. style and feel do an incredible job to help tell the story and pull you in. Such unthinkable exclusion is telling of the wealth of talent currently working behind the camera on film sets from Hong Kong to Los Angeles. who has lensed every film he’s helmed from Traffic on (he also edits his own work under the name “Mary Ann Bernard”—who knows why). each Lion knows that if it can't out run the slowest antelope it will end up starving to death. Peter Suschitzky (Spider).you'd better start running! ** a list that doesn’t include such worthy names as Remi Adefarasin (The House of Mirth). 10. So it doesn't really matter if you are a Lion or a antelope. “Peter Andrews” Peter Andrews does not exist. Nelson Yu Likwai (all five of Jia Zhang-ke’s features). Peter Deming (Mulholland Drive). -Finner Each morning in Africa when the sun comes up. Edward Lachman (Far from Heaven). because when the sun comes up . John Toll (The Thin Red Line).

His masterly use of natural light as an expressive force is best exemplified by Malick’s The New World. but one you can’t necessarily trust with just any filmmaker. it’s clear that his landscape work there is as stunning as anything in Esther Kahn or Those Who Love Me Can Take the Train. That is. but—you decide about 15 minutes in—that doesn’t matter a bit because it looks so damn good. to the kitsch factor of the recent live-action adaptation of Dr. smoky black and white of the noir homage The Man Who Wasn’t There. on the other hand. from Fargo’s snowbound visuals (the color white has seldom been put to such effective use—seriously) to the rich. Not so fast: Gautier also shot Walter Salles’s staggeringly vapid Che Guevara biopic. Eric Gautier He’s worked side-by-side with some of France’s finest contemporary filmmakers—Olivier Assayas. the best thing. you say? Like Kobe winning three NBA championships— with Shaq. granted).this piece. Case closed? 09. Burton’s Sleepy Hollow is virtually all surface. I’m not a fan of Gus Van Sant’s recent (unambiguously Béla Tarr-aping) output. Arnaud Desplechin. Example B: Full Frontal. metallic space veneer and moodily oversaturated flashback sequences. Even if Elephant’s tragic high school kids frequently resemble over-fetishized runway models. Seuss’s The Cat in the Hat. Patrice Chereau. For this. 06. However. (Bonus points for having shot this breathtaking scene. and if you manage to stay awake throughout (no simple feat.) 07. Partnered with reputable aesthetes like Tim Burton or Terrence Malick. for example. which wouldn’t pack nearly the same end-of-innocence punch without Lubezki’s expertise. about Van Sant’s Loneliness (or whatever you want to call it) Trilogy is Savides’s exquisite camerawork. his perfectly modulated balance of Michael Hanekestyle long shots and revealing close-ups almost redeemed the otherwise useless Last Days. Harris Savides Unlike many of my peers. a generous portion of the credit should go to . Hell. Too easy. he’s top-tier all the way. Roger Deakins Coen brothers movies always look different and always look great. has Soderbergh developed into a better director of photography than of movies in general? Example A: Solaris’s cool. there’s still no question that the man knows how to sustain some of the world’s smoothest tracking shots. 08. Emmanuel Lubezki Lubezki is a rare talent. His candy-coated compositions only added. The Motorcycle Diaries. without a doubt.

Janusz Kaminski Kaminski won his first Academy Award for his haunting work on Schindler’s List. The harrowing demolition sequence is proof of Kaminski’s technically fluent. beautifully underscoring the painful longing of Hou’s characters. who’s shot all of their movies since Barton Fink. and gold. Agnes Godard . Where the turn-ofthe-century brothel in 1998’s Flowers of Shanghai is adorned in bold shades of orange.I. and he would never have achieved it without Beebe’s singular lens. green. 05. first-rate craftsmanship..Roger Deakins. Miami Vice is the hypnotically stylish apotheosis of Mann’s designer oeuvre. a daunting exercise in matching frenzied action with devastating stillness. But that’s not the end of his case. bathing the story of the Dalai Lama in deep. or Pingbin Li. The trio of vignettes in Three Times might have played as mere back-catalogue rehashes without Ping-bing’s camera guiding Hou’s signature concerns in fascinating new directions. but that sure as heck ain’t the reason it gets my vote as the best Hollywood movie so far this year. as indelibly (and perhaps definitively) as Gordon Willis did New York in Woody Allen’s Manhattan. radiant hues of yellow and red. The iconic underwater shot of Haley Joel Osment’s David and the blue fairy statue solidifies his reputation as a visionary artist in his own right. Mark Lee Ping-bin. this is definitely a guy you want shooting your movie. Hou Hsiao-hsien swears by him. Mark Ping-bin Lee. Aside from Hou. hands-down the most visually sumptuous sci-fi film ever made.A. where he managed to do for sand what Fargo did for snow. Spielberg has smartly stuck with him ever since (though—fun fact—ex-wife and fellow member of Oscar’s Class of ’93 Holly Hunter didn’t). with its luminous fluorescent glow and striking DV urgency. Kaminski’s crowning achievement as a cinematographer may be one in the same with Spielberg’s masterpiece: A. 04. Who knows? There might be actual substance in there somewhere. and Sam Mendes’s Jarhead. and for good reason. and violet. 02. Deakins also shot Scorsese’s Kundun. Dion Beebe Speaking of fruitful director/DP partnerships. 03. yellow. Mark Lee. Michael Mann and Dion Beebe are—two films in—the duo du jour in American cinema. Collateral. Mark Li Ping-bing Whether credited as Mark Li Ping-bing. the “Time for Freedom” chapter of Three Times (again set in a turn-of-the-century brothel) is defined by compositions in blue. captures L. Ping-bing has also lent his painterly touch to Tran An Hung’s The Vertical Ray of the Run and Tian Zhuangzhuang’s Springtime in a Small Town.

Who. As is. would be a scathing polemic on its own. the rhythmic series of impossibly graceful shots following Tony Leung and Maggie Cheung through their solo motions in In the Mood for Love (shot with Ping-bing). it feels. has made the most consistently gorgeous-looking movies? Wong Kar-wai. Hong Kong director Fruit Chan’s contribution to the pan-Asian triptych Three…Extremes. the DP who can make anyone or anything look like a Vermeer painting. Ladies and gentleman: Agnes Godard. if that’s not enough for you. Chow’s pulp fantasy in 2046. eye-popping beauty isn’t everything. but it goes an awfully long way. EVER BEST TEN CINEMATOGRAPHERS 1) Sven Nykvist 2) Vittorio Storaro 3) Roger Deakins 4) Nestor Almendros . Doyle has also shot non-Wong films as diverse as Pen-ek Ratanaruang’s Last Life in the Universe. Doyle’s camera peering skyward before the credits roll. Well. like a portrait of two suffering saints—who just happen to think cannibalism’s pretty sexy. over the past decade-plus. Christopher Doyle To be perfectly honest with you. surfaces that shine in the sun (the toned soldiers of Beau Travail) or seem to gradually deepen in color before your eyes (the seemingly mundane hotel room in Friday Night). Faye Wong’s android drifting disaffectedly through Mr. it’s a striking. as virtues go. deliberately paced narratives. And no. as mentioned above. With Doyle manning the camera. penetrating visual style couldn’t be more perfectly suited to Denis’s strangely shaped. right? No question.The first thing everyone notices about Claire Denis films is that tactile sensuality. breathtaking. my choice for #1 here wasn’t terribly difficult. Wong and Doyle are inseparable to the point that it’s reasonable to wonder where one ends and the other begins. Dumplings. and consider all the indelible moments that Wong and Doyle have brought us: the wouldbe lovers riding off on the motorbike at the close of Fallen Angels. the three minutes and forty-two seconds of romantic ecstasy that is their music video for DJ Shadow’s “Six Days. Trouble Every Day would be just another Euro-art-horror flick without the weight of melancholy that Godard’s camera carries. It was basically just a matter of deduction. 01. at times. Her meticulous.” Hey. self-reflexive paradox—a visually seductive critique of our image-obsessed (global) culture. Zhang Yimou’s Hero. Think back momentarily. and Phillip Noyce’s Rabbit-Proof Fence.

5) Vilmos Zsigmond 6) Gordon Willis 7) Ed Lachman 8) Carlo Di Palma 9) Janusz Kaminski 10) John Toll .