The American Society of Cinematographers (or ASC) have announced their nominees where “Silence” has finally received some much deserved recognition for Rodrigo Prieto. Some other notable and strong inclusions include James Laxton’s elegant work on “Moonlight” and Greig Fraser’s touch on “Lion.”
Expected nominees Linus Sandrgen (“La La Land“) and Bradford Young (“Arrival“) rounded out the nominations accordingly.
Notable omissions were Simon Duggan (“Hacksaw Ridge“), Seamus McGarvey (“Nocturnal Animals“), and Roger Deakins (“Hail, Caesar!“).
The list of nominees is below:
- Greig Fraser, ASC, ACS for “Lion”
- James Laxton for “Moonlight”
- Rodrigo Prieto, ASC, AMC for “Silence”
- Linus Sandgren, FSF for “La La Land”
- Bradford Young, ASC for “Arrival”
Share your thoughts in the comments below!
From “Arrival” review:
Cinematographer Bradford Young is utterly suave in his usage with the lens. Already capturing our hearts with his works on “Selma” and “A Most Violent Year,” Young’s glossy and poised framework is not only exciting, but visually moving.
From “Moonlight” review:
Assembling a team of unconventional talent like cinematographer James Laxton (“Tusk” and “Camp X-Ray“), composer Nicholas Britell (“The Big Short” and “Gimme the Loot”), and editors Joi McMillon (debut feature) and Nat Sanders (“Short Term 12” and “The Do-Deca-Pentathlon”), shows how adept Jenkins is. Every frame feels considered, thought out, and important to the story. Jenkins’ decision to watch young Chiron make himself a bath with dishwashing soap or flex up one second after he encounters neighborhood bullies is stellar. A blue hue is cast on the screen, bringing a smooth and melancholic palate.
From “Lion” review:
And indeed, Davis also uses the Google Earth concept to great effect, treating the audience to wonderful overhead imagery from the opening scene. It’s a good indicator of what’s to come, as Greig Fraser’s awe-inspiring cinematography captures the vast scope of Saroo’s adventure with incredible detail. Creating an immersive experience, he takes us from the skies and zooms in to the nooks and crannies of India alongside our pint-sized hero.
Indeed, a surprisingly large portion of the narrative takes place in India. Accentuated by Davis’ gentle directing touch, Fraser’s observant eye forces us to take in the sights and sounds of the place that Saroo will forever call home. We can practically smell Saroo’s coveted jalebis (an Indian dessert) frying, while the camera also lingers on the sad faces of the many street children left to fend for themselves.
From “Silence” review:
It’s easy to write “masterpiece” for a film, and let it be generally understood by the casual movie-goer that reads it. The word left by itself doesn’t fully explain the film’s technical mastery. Cinematographer Rodrigo Prieto and Thelma Schoonmaker are masters of their crafts. Prieto frames the film to utter perfection, utilizing fog and blue-grey hues to capture the film’s undying message of faith. Schoonmaker lets the story evolve into a construction of time, allowing the viewer to feel the “weight” of the “waiting.”