Other veterans include Oscar-winner Robert Elswit for “King Richard” and two-time nominee Jeff Cronenweth for “Being the Ricardos.” However, he has yet to win with ASC, despite two Oscar wins for “Schindler’s List” (1993) and “Saving Private Ryan” (1998). Janusz Kamiński, currently tied for the third most ASC nods in history alongside Emmanuel Lubezki, is likely to get that distinction all to himself, as he’s expected to nab his seventh nod for the musical “West Side Story.” Five of his six nominations have come when he’s teamed up with Steven Spielberg, except for “The Diving Bell and the Butterfly” (2007). Then there are the established voices that the group hardly passes on. The two also have been known to disagree, as seen with ASC completely snubbing “Glory” (1989), before it went on to be nominated and win the Oscar while the Academy has passed on best picture winners like “12 Years a Slave” (2013) and “The Lord of the Rings: The Return of the King” (2003) after ASC recognized them both. Neither group gave love to “Parasite” (2019), “Green Book” (2018), or “Spotlight” (2015). One thing to note is that neither the ASC, nor the Academy, tend to follow where the best picture heat is falling. Even Eduard Grau’s camera work on “Passing” is possible, albeit less likely.Īnd then there’s the best picture frontrunner “Belfast” shot by Haris Zambarloukos, which has felt like a default selection for the branch and membership to make because of its status in the race. After snagging his first nom for “The Grand Budapest Hotel” (2014), a surprisingly robust showing on the BAFTA longlist for the film, this could pop up with their selections. Parts of “The French Dispatch of the Liberty, Kansas Evening Sun” lensed by Robert Yeoman are in black-and-white, and he brings all the quintessential zeal that we’ve come to expect in a Wes Anderson comedy. The chances for “C’mon C’mon,” shot by Robbie Ryan, a former nominee for “The Favourite” (2018), are contingent upon how many have given Mike Mills’ heartfelt story the viewing it deserves. He’s been previously nominated four times by ASC, winning for “A Very Long Engagement” (2004), but has an extra Oscar nod for “Harry Potter and the Half-Blood Prince” (2009) that surprised on the morning.
The monochrome entries are all angling for some attention, but it seems like “The Tragedy of Macbeth,” shot by Bruno Delbonnel, may be the leading contender in that department. Claire Mithon’s smooth color palettes on “Spencer” are beautifully executed, while Helene Louvart adds tension and mystery to each piece of “The Lost Daughter.” Personally, hearing Alice Brooks’ name called twice is on my wishlist as she captures the energy and musicality of each of her film’s actors in “Tick, Tick … Boom!” and “In the Heights,” but alas, she’s likely a longshot.
While Wegner’s nomination seems assured, she’s not the only woman hoping to hear their name from the 103-year-old guild. In the precursor awards, a race has emerged between Greig Fraser’s diligent work on “Dune” and Ari Wegner’s passionately framed “ The Power of the Dog.” In a close race that could go in any direction, both are the top two leading winners of the awards season so far. That poor track record has an opportunity to change this year. It should be noted that two Black cinematographers have been nominated - Remi Adefarasin for “Elizabeth” (1998) and Bradford Young for “Arrival” (2016). With winners, there have been two Asians (James Wong Howe and Peter Pau), four Latinos (Guillermo Navarro, Claudio Miranda, Emmanuel Lubezki and Alfonso Cuarón), zero Black and zero Indigenous people to win the category. Of the 21 non-gendered categories, the cinematographers’ branch has the worst track record for recognizing diverse and inclusive artists. Over 93 years of the Academy Awards, Rachel Morrison is the only woman nominated for cinematography, for her work on Dee Rees’ “Mudbound” (2017).
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