BEST CINEMATOGRAPHY: BELFAST/DUNE/POWER OF THE DOG/TRAGEDY OF MACBETH/WEST SIDE STORY

Power of the Dog

The Best Cinematography category has already been put to bed. Nothing is likely to change before Oscar night. As always, in this category, it’s a very international bunch. It’s also a good year to be Australian.

AND THE NOMINEES FOR BEST CINEMATOGRAPHY WILL BE:

HARIS ZAMBARLOUKUS (Belfast) First Oscar nomination for the Greek Cypriot cinematographer’s lovely back and white lensing on “Kenneth Branagh’s “Belfast”

GREIG FRASER (Dune) Second Oscar nomination (following “Lion” in 2016) for the Australian cinematographer’s stunning work in capturing Denis Villeneuve’s vision on “Dune”. He will also walk away with an Oscar in his hands.

ARI WEGNER (The Power of the Dog) Becoming only the second woman to be nominated for a Best Cinematography Oscar (I know, its sounds incredible) – following Rachel Morrison’s nod for “Mudbound” in 2017 – Australian Ari Wegner picks up her first Oscar nomination for capturing the amazing vistas and intimate corners that make up Jane Campion’s movie.

BRUNO DELBONNEL (The Tragedy of Macbeth) For his magnificent black and white lensing on Joel Coen’s first solo outing without brother Ethan, French cinematographer Delbonnel picks up his sixth nomination following “Amelie” (2001), “A Very Long Engagement” (2004), “Harry Potter and the Half-Blood Prince” (2009), “Inside Llewyn Davis” (2013) and “Darkest Hour” (2017).

west-side-story

JANUSZ KAMINSKI (West Side Story) The two-time Oscar winner and Spielberg’s essential collaborator over the last three decades, Kaminski’s camera moves dazzle in Spielberg’s remake of the musical classic. It will be Oscar nomination number seven following “Schindler’s List” (Win in 1993), “Amistad” (1997), “Saving Private Ryan” (Win in 1998), “The Diving Bell and the Butterfly” (2007), “War Horse” (2011) and “Lincoln” (2012).

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