Best Cinematography Predictions (October)

It’s looking like a battle of the newbies in the Cinematography race. While we’re still yet to see the entire film, the Mank trailer gave us a tantalising glimpse at Erik Messerschmidt’s black-and-white ode to Hollywood’s Golden Age. We know the Academy loves to eat up films about filmmaking and it would be quite something to see Messerschmidt take home an Oscar for his feature film debut.

Hot on Messerschmidt’s heels is young gun Joshua James Richards, whose sweeping landscape cinematography in Nomadland could easily win the cinematographer an Oscar with his first nomination. Veteran Polish cinematographer Dariusz Wolski has yet to receive an Oscar nomination, but he seems a strong chance for Paul Greengrass’s sweeping epic News of the World.

A mammoth question mark surrounds the awards season chances of Tenet. While the film received a divisive response from critics, it was universally lauded for its visual elements, particularly Hoyte van Hoytema’s impressive cinematography. If Tenet proves to be a strong performer in the tech categories, van Hoytema should get swept along for the ride.

BEST CINEMATOGRAPHY PREDICTIONS:
1. Mank (Netflix)
Erik Messerschmidt
2. Nomadland (Searchlight Pictures)
Joshua James Richards
3. News of the World (Universal Pictures)
Dariusz Wolski
4. Tenet (Warner Bros.)
Hoyte van Hoytema
5. Da 5 Bloods (Netflix)
Newton Thomas Sigel

MAJOR CONTENDERS:
The Father (Sony Pictures Classics)
Ben Smithard
Hillbilly Elegy (Netflix)
Maryse Alberti
I’m Thinking of Ending Things (Netflix)
Łukasz Żal
Judas and the Black Messiah (Warner Bros.)
Sean Bobbitt
Ma Rainey’s Black Bottom (Netflix)
Tobias A. Schliessler
Minari (A24)
Lachlan Milne
Mulan (Disney)
Mandy Walker
One Night in Miami (Amazon Studios)
Tami Reiker
Promising Young Woman (Focus Features)
Benjamin Kračun
The Trial of the Chicago 7 (Netflix)
Phedon Papamichael

Author: Doug Jamieson

From musicals to horror and everything in between, Doug has an eclectic taste in films. Both a champion of independent cinema and a defender of more mainstream fare, he prefers to find an equal balance between two worlds often at odds with each other. A film critic by trade but a film fan at heart, Doug also writes for his own website The Jam Report, and Australia’s the AU review.

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