The film moves unrelenting towards Nina’s (Natalie Portman) debut as the White/Black Swan in Tchaikovsky’s Swan Lake, but its most inspired moment comes right after the function ends. Shot for the most part on Super 16mm by its cinematographer Matthew Libatique, “Black Swan” is a grainy, fraught, and frenetic descent into madness. Black Swan (Darren Aronofsky, 2010) – Nina falls in slow motion after her performance A man whose legend has engulfed and erased his whole persona, making him only a shadow for those who surround him.Ģ8. In addition to the obvious aesthetic power displayed by the image, the shot also provides a perfect picture for the character portrayed by Pitt. The dark figure of Jesse James (Brad Pitt) holding a lantern while being backlighted by the locomotive of a train along the fog and trees is one of the most celebrated moments found in the acclaimed cinematographer Roger Deakins’ career. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, 2007) – Jesse James just before the train robbery
It’s a really busy but captivating image that shows the ingenuity of its director.Ģ9. Division in thirds, the triangle shape made of the deck of the boat, and the difference of size between Freddie and the other soldiers. This shot is a perfect example of some well-known compositional rules.
#Best cinematography shots of all time movie#
However, there’s no doubt that the movie takes advantage of the high detail offered by its larger film gauge in shots like the one with Freddie Quell (Joaquin Phoenix) laying on the top of the boat in the beginning. The Master (Paul Thomas Anderson, 2012) – On the top of the boatĮven though it is usually considered best suited for spectacle-driven films, Paul Thomas Anderson opted to shoot 2012’s “The Master” in 65mm, demonstrating that the richness of the format “can work just as well for intimate and character-driven stories” as FotoKem’s Andrew Oran, stated in an interview about the film for PVC. Talking about “the best (individual) shots in film” is a difficult task, not only because there’s thousands of equally deserving entries, but because meaning in cinema is usually better conveyed through the succession of frames, shots, and sequences.Ĭoncepts like “affinity” and “contrast” play a crucial role in achieving meaningful and lasting images, and although it would be easy to just name those that display the most aesthetically pleasing density within their borders, the ones featured here are just meant to show how filmmakers try their best to communicate with the viewer through the visual form.ģ0.
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