The Academy Has Revealed the Shortlist for the 2026 Best Cinematography Oscars

The Academy of Motion Picture Arts and Sciences has officially announced the sixteen films that will advance to the next round of voting for Best Cinematography at the 98th Academy Awards. This year’s selection highlights a diverse array of visual storytelling, ranging from high-octane blockbusters filmed with cutting-edge technology to intimate character studies shot on 35mm film. The Cinematographers Branch has recognized work that pushes the boundaries of lighting, composition, and camera movement to serve the director’s vision. Competition is fierce as industry veterans and rising stars vie for a spot in the final five nominees.

‘Ballad of a Small Player’ (2025)

Edward Berger reunites with cinematographer James Friend to adapt Lawrence Osborne’s novel, creating a suffocating yet visually opulent atmosphere in Macau. The camera lingers on the neon-drenched casinos and the sweaty desperation of a high-stakes gambler played by Colin Farrell. Friend’s lighting contrasts the artificial glamour of the gambling world with the protagonist’s internal decay. The visual language emphasizes claustrophobia and moral ambiguity, cementing the film as a masterclass in psychological tension.

‘Bugonia’ (2025)

Yorgos Lanthimos continues his collaboration with Emma Stone in this remake of the Korean cult classic ‘Save the Green Planet!’. The cinematography employs Lanthimos’s signature wide lenses and stark, uncomfortable framing to heighten the absurdity of the conspiracy-driven plot. Visuals oscillate between the gritty realism of the kidnappers’ hideout and the surreal, warped perspective of their paranoid worldview. The camera work is as eccentric and unpredictable as the narrative, creating a unique and disorienting viewing experience.

‘Die My Love’ (2025)

Director Lynne Ramsay and her cinematographer craft a visceral and sensory experience that plunges the audience into the unraveling mind of a mother in rural isolation. The film utilizes tight, suffocating close-ups and textural details to convey the protagonist’s battle with postpartum psychosis. Natural light is used to haunting effect, turning the beautiful countryside into a menacing and indifferent backdrop. The visual storytelling prioritizes mood and internal state over traditional narrative, resulting in a harrowing and beautiful piece of cinema.

‘F1’ (2025)

Joseph Kosinski and cinematographer Claudio Miranda push the boundaries of action filmmaking by placing IMAX cameras directly inside Formula 1 cockpits. The film achieves an unprecedented sense of speed and immersion, capturing the violence and precision of professional racing with practical effects. Sun-drenched tracks and heat mirages are rendered with razor-sharp clarity, contrasting with the intimate, high-stakes drama in the paddock. This technical marvel sets a new standard for capturing high-velocity sports on screen.

‘Frankenstein’ (2025)

Guillermo del Toro’s lifelong passion project is brought to life with the gothic visual sensibilities of cinematographer Dan Laustsen. The film embraces a dark, romantic aesthetic, utilizing deep shadows and intricate lighting to highlight the grotesque beauty of the creature and his creator. Sweeping camera movements explore the textured period sets, from icy wastelands to Victorian laboratories. The cinematography perfectly complements Del Toro’s tragic monster tale, creating a world that is both terrifying and deeply sorrowful.

‘Hamnet’ (2025)

Chloé Zhao applies her naturalistic visual style to this adaptation of Maggie O’Farrell’s novel, exploring the grief of William Shakespeare’s family. The cinematography relies heavily on magic hour lighting and handheld camera work to create an intimate, terrestrial connection to the 16th-century setting. The visuals focus on the tactile details of nature and domestic life, grounding the historical tragedy in raw human emotion. This approach strips away the polish of a traditional period drama, offering a raw and poetic look at loss.

‘Marty Supreme’ (2025)

Josh Safdie transports viewers to the 1950s ping pong circuit with a visual style that mirrors the sport’s frenetic energy. The cinematography is kinetic and gritty, utilizing grainy textures and rapid pans to capture the intensity of the matches and the chaos of the protagonist’s life. Neon signs and smoky halls are rendered with a period-appropriate haze, creating a distinct atmospheric tension. The camera acts as a participant in the action, thrusting the audience directly into the high-speed world of professional table tennis.

‘Nouvelle Vague’ (2025)

Richard Linklater’s ode to the French New Wave is a visual love letter shot on location in Paris, mimicking the revolutionary styles of the 1960s. The cinematography recreates the grainy black-and-white look and handheld freedom that defined the era of Godard and Truffaut. Playful jump cuts and natural lighting pay homage to the filmmakers who changed cinema forever, while maintaining a modern sharpness. The result is a visually nostalgic yet fresh exploration of the creative process behind ‘Breathless’.

‘One Battle after Another’ (2025)

This war drama immerses the audience in the relentless and muddy reality of combat through long, uninterrupted takes. The cinematographer utilizes a desaturated color palette to emphasize the bleakness of the conflict, focusing on the exhaustion rather than the glory of war. Camera movements are deliberate and steady, contrasting with the chaos unfolding within the frame. The visual discipline enhances the emotional weight of the soldier’s journey, making every frame feel like a struggle for survival.

‘Sentimental Value’ (2025)

Joachim Trier’s exploration of memory and family is captured on warm 35mm film, giving the story a nostalgic and organic texture. The cinematography favors intimate close-ups that capture the micro-expressions of the actors, particularly in moments of silent realization. Oslo’s cityscape is shot with a melancholic beauty, using soft light and reflections to mirror the characters’ internal states. The visual language is understated but deeply affecting, perfectly supporting the film’s emotional complexity.

‘Sinners’ (2025)

Ryan Coogler reunites with cinematographer Autumn Durald Arkapaw to craft a Southern Gothic horror that is drenched in shadow and dread. The film uses low-light photography and high-contrast imagery to build tension in the Jim Crow-era setting. Deep blacks and vibrant lantern lights create a claustrophobic atmosphere where supernatural threats lurk in the periphery. The visual style marries historical period detail with the stylized heightened reality of the horror genre.

‘Sirāt’ (2025)

This visually ambitious film takes viewers on a metaphysical journey across a spiritual landscape, utilizing breathtaking wide shots and surreal imagery. The cinematography plays with scale and perspective to depict the protagonist’s crossing of a metaphorical bridge. Light acts as a narrative device, guiding the character through environments that shift from desolate darkness to blinding radiance. The result is a meditative and transcendental visual experience that challenges traditional spatial storytelling.

‘Song Sung Blue’ (2025)

Craig Brewer’s musical drama captures the grit and glitter of a Neil Diamond tribute band with a vibrant and colorful visual palette. The cinematography contrasts the dim, smoky atmosphere of dive bars with the electrifying stage lighting of performance sequences. Handheld camerawork lends a documentary-like intimacy to the relationships, while the musical numbers are shot with sweeping, cinematic grandeur. The visuals celebrate the beauty found in working-class dreams and the transformative power of music.

‘Sound of Falling’ (2025)

The cinematography in this psychological drama utilizes disorienting angles and a vertical visual motif to reflect the protagonist’s downward spiral. The camera often looks down from great heights or up from low angles, creating a constant sense of vertigo and instability. Cold, clinical lighting emphasizes the isolation of the main character as they navigate a collapsing personal world. The visual choices are precise and unnerving, effectively translating the theme of emotional freefall into a tangible optical experience.

‘Train Dreams’ (2025)

Clint Bentley adapts Denis Johnson’s novella with a sweeping visual scope that captures the vanishing American West of the early 20th century. The cinematography emphasizes the vastness of the landscape against the smallness of the human figure, utilizing natural light and changing weather to mark the passage of time. Earth tones and rich textures bring the period details of logging camps and railways to life. It is a contemplative visual poem that honors the silence and endurance of its subject.

‘Wicked: For Good’ (2025)

Cinematographer Alice Brooks expands the magical world of Oz with even more ambitious lighting and camera movement for this concluding chapter. The film transitions from the vibrant hues of Shiz University to the darker, more dramatic tones of the Emerald City and the West. Sweeping crane shots and dynamic framing capture the scale of the musical numbers and the flying sequences. The visuals seamlessly blend practical sets with visual effects, creating a polished and immersive fantasy spectacle.

Share your predictions for which of these visually stunning films will take home the Oscar for Best Cinematography in the comments.