There’s a magic in the way light dances on film, crafting stories not just through dialogue but through the very essence of shadow and light. The 39th ASC Awards have unveiled a fascinating lineup of cinematographers who’ve mastered this art in 2025, but not without some head-scratching omissions and surprising picks.
The Nominees:
- Jarin Blaschke for “Nosferatu“: Known for his atmospheric work in black and white, Blaschke brings a haunting beauty to this classic tale.
- Alice Brooks for “Wicked”: A surprising choice, considering the criticisms of the film’s visual style. Brooks’ attempt to innovate seems to have split opinions.
- Lol Crawley for “The Brutalist“: His work here is a testament to capturing raw, visceral energy, translating the film’s architectural theme into moving images.
- Stéphane Fontaine for “Conclave”: Fontaine’s cinematography in this quiet, intense drama adds layers of depth through his use of light in confined spaces.
- Greig Fraser for “Dune: Part Two“: Continuing his saga from the first part, Fraser’s visual narrative is as expansive and mesmerizing as the desert landscapes he portrays.
- Edward Lachman for “Maria”: With a career rich with accolades, Lachman’s latest work might just earn him another nod from the Academy.
- Phedon Papamichael for “A Complete Unknown“: His ability to weave narrative through visual storytelling is once again on full display, potentially boosting his Oscar chances.
Notable Omissions:
- Jomo Fray for “Nickel Boys” was notably absent, despite the film’s critical acclaim. This snub is part of a broader pattern where “Nickel Boys” has been overlooked in major awards conversations.
- Paul Guilhaume for “Emilia Perez” also missed out, suggesting a shift in what the ASC values in cinematographic storytelling.
Analysis and Criticism: The selection of Alice Brooks for “Wicked” is particularly perplexing. The film’s visual approach was bold, attempting something new with its color palette and lighting, but critics argue it missed the mark. The night scenes felt underlit, losing the magic of Oz, while the day sequences were criticized for their grayish, overlit appearance. This nomination might reflect a broader conversation about innovation versus tradition in cinematography.
On the other hand, Lachman and Papamichael’s nominations are well-earned, showcasing their enduring influence and innovation in the field. Their works stand as beacons for aspiring cinematographers, illustrating how to blend technical skill with narrative necessity.
Conclusion: The 2025 ASC Awards nominees list is a mosaic of vision, talent, and sometimes controversy. As we edge closer to the Oscars, these nominations not only highlight current cinematic achievements but also potentially steer the direction of visual storytelling in the years to come. Whether these choices will be celebrated or debated at the Oscars remains to be seen, but one thing is clear: the art of cinematography continues to evolve, challenging both creators and audiences to see in new ways.
Personal Impressions: The choice of nominees this year showcases a breadth of styles, from the gothic to the grandiose. Yet, the inclusion of Alice Brooks for “Wicked” feels like a misstep in an otherwise strong lineup. Her work, while brave, doesn’t resonate with the emotional depth or visual coherence we’ve come to expect from ASC nominees. Conversely, the consistent brilliance of Lachman and Papamichael is a reminder of what great cinematography can achieve.
Do you believe the ASC nominations truly reflect the best in cinematography this year, or do they sometimes miss the mark? Share your thoughts on what makes a film visually unforgettable.
