11 Visually Stunning Films That Redefine Cinematography

Apocalypse Now (1979)

Francis Ford Coppola's Apocalypse Now redefines the art of cinematography with its dramatic contrasts between light and shadow and highly saturated tones. The film creates a hellish landscape, drawing thematically from Joseph Conrad, as well as narratively. Vittorio Storaro's cinematography contributes to a deeply immersive image of war, with chaos as the baseline, helping to exaggerate the chilling entrance of Kurtz. The saturation is key to conveying the visceral danger of fire and explosions, drawing the eye toward them as they tear through the lush greens of the Vietnamese forest.

Apocalypse Now (1979)

Drive (2011)

Drive, directed by Nicolas Winding Refn, showcases the art of cinematography with layered shot compositions that reveal hidden details about its characters. Newton Thomas Sigel's cinematography uses negative space to tell the story of the characters' fears and desires. The harsh glow of the streetlights illuminates a lot more than the characters reveal externally, creating an intoxicating, dream-like cityscape in Drive.

Agatha at the fair in The Grand Budapest Hotel

Mudbound (2017)

Rachel Morrison's cinematography in Mudbound captures the aftermath of the Second World War with masterful use of natural light, coloring the Mississippi Delta in warm hues. The earthy tones of the film serve as a wonderful naturalistic backdrop, emphasizing the contrast with striking splashes of crimson blood, creating a visually striking portrayal of the characters' melancholy stasis.

Wes Anderson Grand Budapest Hotel Eclectic Performances Cropped

Lawrence Of Arabia (1962)

Freddie Young's cinematography in Lawrence of Arabia perfectly complements the iconic orchestral score, lending a sense of exotic majesty to the wide desert shots. The film's wide shots and cloudless skies convey a feeling of endless possibilities, while also serving as an intelligent counterpoint to the discordant struggles of the characters as they become embroiled in political turmoil and battles.

Exterior shot of The Grand Budapest Hotel

Fargo (1996)

Roger Deakins' cinematography in Fargo communicates the vast coldness of North Dakota and Minnesota, framing characters against snowy backgrounds to evoke a sense of isolation and loneliness. The film's visuals reflect the characters' emotional journeys, capturing the feeling of being lost in a desolate landscape.

A motorbike and skis in The Grand Budapest Hotel

Zodiac (2007)

Harris Savides' cinematography in Zodiac creates an immersive experience, placing the audience in the killer's shoes with voyeuristic shots that heighten the characters' senses of paranoia. The careful shot composition emphasizes the characters' personal obsessions and the unsettling nature of the narrative, drawing viewers into the chilling world of the Zodiac killer.

M Gustave, Zero, and Agatha riding a train in The Grand Budapest Hotel

Portrait Of A Lady On Fire (2018)

Claire Mathon's cinematography in Portrait of a Lady on Fire is a visual masterpiece, using warm autumnal light to capture the fleeting nature of love between the characters. The contrast between luminous external shots and intimate interior lighting reflects the duality of the relationship, creating a visually captivating portrayal of love and longing.

Barry Lyndon

WALL-E (2008)

Martin Rosenberg's cinematography in WALL-E tells a compelling story without the need for dialogue, using visual cues and emotion to convey the protagonist's journey in a barren world. The film's grand sense of scale and use of lighting create a poignant backdrop for WALL-E's exploration of a post-apocalyptic Earth, drawing audiences into a visually immersive experience.

Joaquin Phoenix looking out at the city in Her

Her (2013)

Hoyte van Hoytema's cinematography in Her captures the characters' sense of isolation and disconnection, using wide shots of a busy city to emphasize their loneliness. The contrast between warm and cool lighting conveys the characters' emotional states, creating a visually compelling portrayal of human connection in a technologically advanced world.

Wall-E

Barry Lyndon (1975)

John Alcott's cinematography in Barry Lyndon stands out for its use of broad shots to mimic oil-painted landscapes, creating an expansive and empty feeling that supports the theme of chance and personal events. The reliance on natural light adds to the film's immersive quality, drawing audiences into an atmospheric portrayal of the 18th Century setting.

Heloise caresses Mariane in Portrait of a Lady on Fire

The Grand Budapest Hotel (2014)

Robert Yeoman's cinematography in The Grand Budapest Hotel perfectly complements Wes Anderson's visually distinctive style, using flat composition and lateral tracking shots to create a whimsical and playful feel. The bold use of color and stylistic touches make The Grand Budapest Hotel a visually captivating experience that transports audiences into a world of storytelling and adventure.

Jake Gyllenhaal's Robert Graysmith and Robert Downey Jr's Paul Avery stand in a newsroom in Zodiac

Roma (2018)

Alfonso Cuarón's cinematography in Roma is a stylistically modern and visually stunning work of art, with monochromatic composition that shifts the focus toward the film's exquisite framing and depth of focus. The simplicity of the color palette enhances the film's composition, creating a realistic and immersive portrayal of the characters' lives.

An overhead shot of a snow-covered parking lot in Fargo (1996)