ARRI technology and services support Oscar® winners, including Best Picture and Best Cinematography
The 97th Academy Awards® recognized many outstanding films this year. Oscar®winners including “Anora,” “The Brutalist,” “Dune: Part Two,” “The Substance,” and “Wicked” were all supported by ARRI.
Despite the recent devastation resulting from fires across Los Angeles, The 97th Academy Awards® ceremony, presented by the Academy of Motion Picture Arts and Sciences, took place at the Dolby® Theater in Los Angeles on March 2, 2025. In celebration of a year’s worth of cinematic artistry and the artists who create this work, the Academy Awards remain a steadfast tradition and, this year especially, a demonstration of the motion picture industry’s resilience and strength.
5 out of 10 films nominated in the category Best Picture were shot with ARRI, and 3 out of 10 were serviced by ARRI Rental
Samantha Quan accepts the Oscar® for Best Picture alongside Mikey Madison, Sean Baker, Mark Eydelshteyn and Yuriy Borisov
The Academy Award for Best Picture goes to … “Anora”
First garnering critical acclaim at the Cannes Film Festival where it premiered and took home the Palme d’Or, “Anora” has been an Oscar favorite this awards season and was the big winner of the night, taking home five of its six nominations: Best Picture, Director, Writing (Original Screenplay), Film Editing, Actress in a Leading Role.
Directed by indie filmmaker Sean Baker, “Anora” features Best Actress winner Mikey Madison as Anora, a Brooklyn-based sex worker who becomes romantically involved with Ivan, the son of a Russian oligarch. Their relationship, initially a transactional affair, evolves into a complex narrative exploring themes of love, betrayal, and societal expectations. Baker has made a name for himself by rejecting many Hollywood norms; he embraces small budgets, under-the-radar actors, and difficult themes, preferring to spotlight the underrepresented aspects of American society.
The cinematography of “Anora” is just another demonstration of the film’s commitment to realism and immersive storytelling. “Anora” was shot by cinematographer Drew Daniels on ARRICAM LT 35 mm film cameras, framing in widescreen 2.40:1, 4-perf anamorphic, and utilizing vintage LOMO prime and zoom lenses, as well as Atlas Orion lenses for low-light scenes. Support was provided by the teams at ARRI Rental in Burbank during testing, and ARRI Rental New York when production commenced.DP Daniels sought to pay homage to 1970s New York crime dramas by employing a visual style that blends classic elements with modern sophistication. His is a textured, authentic look that captures the gritty essence of Brooklyn’s neighborhoods, suchas Brighton Beach and Coney Island.
Out of the other nine films nominated by the Academy for Best Picture, four of them were captured with ARRI cameras and three were serviced by ARRI Rental. The teams from “The Brutalist” and “Dune: Part Two” relied on ARRI cameras and services and, along with Best Picture, were also nominated for Best Cinematography.
“Dune: Part Two,” directed by Denis Villeneuve, continues the epic saga of Paul Atreides (Timothée Chalamet) on the desert planet Arrakis. The film delves into Paul’s journey as he aligns with the Fremen to avenge his family and confront the oppressive Harkonnen regime. The Academy honored the continuation of the Dune saga with five nominations and two statuettes for Best Visual Effects and Best Sound.
For the second part of Villeneuve’s epic sci-fi adaptation, cinematographer Greig Fraser ACS, ASC, who won the Oscar in 2022 for the first installment of the franchise, was brought back on board. To capture the visual grandeur and artistic depth of the vast desert scenes, Fraser chose to shoot “Dune: Part Two” with the ALEXA 65 and ALEXA Mini LF cameras, while using a diverse selection of lenses including some exclusive ARRI Rental optics. ARRI Rental also provided IMAX-certified cameras as well as lenses and grip equipment.
As an early adopter of the ALEXA 65, Fraser was inclined to use the camera system again for “Dune: Part Two”. In an earlier interview with ARRI he recalls, “We decided to keep the fundamental through-line of large-sensor ALEXA cameras, but to combine ALEXA 65 with ALEXA Mini LF and shoot the whole thing spherical. That kept our options open for the IMAX version and we felt that 65 mm with the Mini LF was a good combo.” Read more about Fraser’s work with “Dune: Part Two.”
“Dune: Part Two” —captured on ALEXA 65 and ALEXA Mini LF by Greig Fraser ACS, ASC
Also up for Best Picture was “The Substance,” featuring Best Actress nominee Demi Moore. This unconventional body horror film was directed by Coralie Fargeat and captured by cinematographer Benjamin Kračun BSC. The horror genre usually doesn’t attract much Academy attention, however, “The Substance” was nominated in five categories: Best Picture, Directing, Writing (Original Screenplay) Actress in a Leading Role, and Makeup and Hairstyling for which it won the Oscar.
The cinematography of“The Substance,” is a crucial component of the film’s eerie and unsettling atmosphere while complementing its deeper themes of transformation and identity. DP Kračun used a variety of techniques to visually enhance the film's narrative, blending a surreal, dreamlike quality with intense, visceral body-horror sequences. Especially chosen for its ability to portray accurate and beautiful skin tones, Kračun decided to use the ALEXA Mini LF for “The Substance.” The ARRI TRINITY camera stabilizer was also used to film the action smoothly and agilely. The film’s bold use of color reflects Elizabeth’s psychological and physical transformation throughout the story. Practical effects, such as the body-mounted camera rigs, help to bring the viewer into the character’s experience, amplifying the sense of intimacy and discomfort while deliberately harsh and exposed lighting showcases the protagonist’s vulnerability.
“The Substance”—captured on ALEXA Mini LF by Benjamin Kračun BSC
Audience and critic favorite alike, “Wicked” is a musical fantasy film that serves as the first part of a two-part adaptation of the acclaimed Broadway musical. Besides Best Picture, the film earned nine other Academy nominations including nods for its two leads Cynthia Erivo (Best Actress) and Ariana Grande (Best Supporting Actress), Music (Original Score), Costume Design, Makeup and Hairstyling, Production Design, and Visual Effects. The film took home the Oscar for Makeup and Hairstyling as well as Production Design. “Wicked” also received an ASC nomination for Cinematography, and many more international award nods.
The cinematography of“Wicked,” directed by Jon M. Chu and lensed by cinematographer Alice Brooks ASC, is celebrated for its vibrant and imaginative visual style that brings the magical world of Oz to life. Brooks used lighting and color to create a fantastical atmosphere while maintaining an intimate but cinematic feel. Audiences can recognize how Brooks’ background in theater and dance influenced her ability to capture dynamic choreography and performances. For this blockbuster, Brooks chose the ALEXA 65 camera from ARRI Rental. In an interview with ARRI, she remarked, “We wanted to capture the vastness of Oz, but really the heart of this movie is the close-ups between these two women, and we knew we could get that with the ALEXA 65.” You can read more about the filming of “Wicked” in an interview with Alice Brooks.
4 out of 5 films nominated in the category Cinematography were shot on ARRI, and 3 out of 5 were serviced by ARRI Rental
Brady Corbet’s critically acclaimed picture “The Brutalist” was partially supported by ARRI cameras and was also up for Best Picture. Even though this ambitious drama was passed over for top prize of the evening, “The Brutalist” scored the top camera accolade. Achievement in Cinematography is always a highly anticipated category at ARRI and this year’s competitive playing field speaks volumes for the talent in the industry. Four out of the five contenders in this category chose to capture their masterpieces with ARRI cameras and three out of five were serviced by ARRI Rental.
The Academy Award for Achievement in Cinematography goes to … Lol Crawley BSC for “The Brutalist”
Presenters Zoe Saldaña, Joe Alwyn, Dave Bautista, Willem Dafoe, and Alba Rohrwacher with Best Cinematography recipient Lol Crawley
Still glowing from its recent Best Cinematography win at the BAFTA Awards (British Academy of Film and Television Arts) earlier this year, “The Brutalist” and its standout DP Lol Crawley BSC, were honored with Oscar gold for cinematography at the 97th Academy Awards. In late 2024, Crawley was also awarded the silver frog at Camerimage, an international film festival in Poland that recognizes the art of cinematography.
Director Brady Corbet’s epic three-and-a-half-hour post-World War II drama “The Brutalist” already achieved great award season accolades before the weekend. The ambitious, original epic—complete with overture and intermission—was shot on film, primarily in the VistaVision format but also 35 mm and 16 mm, and then released in 70 mm.
A film that delves into the life of fictional Hungarian-Jewish architect László Tóth, portrayed by Best Actor winner Adrien Brody, the film has been celebrated for its distinctive cinematography, which plays a pivotal role in conveying its narrative and themes. The film was meticulously crafted by cinematographer Lol Crawley, who supplemented VistaVision cameras with ARRICAM LT and ST along with ARRIFLEX 235, 435, and 416 cameras. Crawley used long takes, precise framing, and atmospheric lighting to elevate the tension and mood of this powerful story. The longtime collaborators Corbet and Crawley were able to shoot the film almost entirely on celluloid film in and around Budapest, standing in for Pennsylvania, with a remarkable $10m budget.
“The Brutalist”—captured on film by DP Lol Crawley BSC with VistaVision, ARRICAM, and ARRIFLEX cameras.
Just last weekend, legendary cinematographer Edward Lachman ASC was awarded with the top prize at the ASC Awards (American Society of Cinematographers) for his work on “Maria.” This was his first win in an ASC theatrical category but his second with the society; Lachman was honored with the ASC’s Lifetime Achievement Award in 2017. With the Academy of Motion Picture Arts and Sciences, Lachman has been nominated four times, for “Far from Heaven” (2002), “Carol” (2015), “El Conde” (2023), and “Maria” (2024).
For “Maria,” Lachman reunited for the second time with director Pablo Larrain to recreate the final days of opera sensation, Maria Callas. This character-driven piece, produced by Netflix and starring Angelina Jolie, shows off Lachman’s tremendous ability to bring a unique visual sensitivity to emotionally complex and nuanced stories. ARRI and ARRI Rental supported this project with camera, lighting, and grip equipment, specifically, the ARRICAM LT, ARRIFLEX 416, and ARRI SkyPanel X LED soft lights.
The cinematography of “Maria” is exceptional for its ability to capture both the grandeur and emotional depth of the iconic opera singer Maria Callas. Lachman’s work is integral to the film’s exploration of Callas’ complex persona and turbulent final years. He implemented tight framing and soft, natural lighting to capture Callas' vulnerability and inner turmoil, while his mastery of period-accurate visual style evokes the 1970s with a nostalgic and authentic feel. The film’s naturalistic yet theatrical approach enhances the raw, personal quality of the story, creating a visually compelling, intimate experience. In an interview with ARRI, Lachman provided insight into his visual approach to “Maria.”
“Maria”—captured on ARRICAM LT by Ed Lachman ASC with camera, lighting, and grip by ARRI Rental
Also nominated for Achievement in Cinematography, director of photography Jarin Blaschke chose to shoot “Nosferatu” primarily on film with ARRICAM LT and ST cameras equipped with Panavision Ultra High Speed, Bausch & Lomb Baltar, Goerz Dagor, and Pathe Tessar lenses.The use of celluloid color negative film and vintage lenses helped Blaschke to capture the gothic atmosphere of the story. ARRI Rental was also on board, providing lighting and grip for this remake of the silent classic from 1922.
The cinematography of “Nosferatu” stands out for its haunting blend of classic horror aesthetics and modern filmmaking. Drawing inspiration from German Expressionism, it uses stark lighting contrasts and shadow play to create an eerie, atmospheric tone. Shot on 35 mm film and framed in a 1.66:1 aspect ratio, the visuals evoke gothic romanticism while immersing viewers in the intimate, oppressive world of the film. Blaschke’s careful composition and strategic use of light and shadow not only enhance the supernatural elements but also amplify the film’s themes of fear and inevitability, making it a visually mesmerizing and unsettling experience.
“Nosferatu”—captured on ARRICAM LT and ST by Jarin Blaschke
All 5 nominated films in the category Achievement in Visual Effects were shot with ARRI cameras
In the end, the golden statuette was handed over to “Dune: Part Two.” Three years ago, predecessor “Dune: Part One” also took home the Oscar for Visual Effects and some would argue that the sequel pushed the boundaries even further. The visual effects in “Dune: Part Two” serve a deeper purpose than just spectacle. They are integral to the story’s themes, from the portrayal of massive battles to the depiction of futuristic technologies and cosmic-scale conflict. The combination of real-life locations, massive sets, and digital enhancements gives the film a tactile, authentic feel, making the impossible seem tangible. Whether it’s the sweeping vistas of the desert or the opulent interiors of the imperial palace, everything looks and feels real. Villeneuve’s talented VFX team was led by Paul Lambert, Stephen James, Rhys Salcombe, and Gerd Nefzer. Other ARRI-supported nominees in this category were “Alien: Romulus” (ALEXA 35, ARRI/Zeiss Master and Ultra Prime lenses, serviced by ARRI Rental), “Wicked” (ALEXA 65, serviced by ARRI Rental), “Kingdom of the Planet of the Apes” (ALEXA LF, ALEXA Mini LF), and “Better Man” (ALEXA Mini LF).
Paul Lambert, Stephen James, Rhys Salcombe, and Gerd Nefzer pose backstage with the Oscar® for Visual Effects
ARRI congratulates all the winners and nominees of the 97th annual Academy Awards. We thank you for relying on ARRI equipment and services to enhance your artistic visions and keep dancing through life!
For a complete list of winners, along with their acceptance speeches, please see the Academy’s webpage.
Lol Crawley accepts the Oscar® for Cinematography during the live ABC Telecast of the 97th Oscars® at the Dolby® Theatre at Ovation Hollywood on Sunday, March 2, 2025.
