The November/December 2025 edition of British Cinematographer
As the year draws to a close, the November/December edition of British Cinematographer celebrates the creativity, craft and collaboration that continue to inspire our industry — from bold visual storytelling to the techniques shaping tomorrow’s cinema. It’s a time to honour the artistry that lights our screens and look ahead to the new stories waiting to be told.
Here’s a glimpse of what’s illuminating these pages — and from all of us at British Cinematographer, wishing you a very Merry Christmas and a prosperous New Year!
CAMERA CREATIVE: MICHAEL BAUMAN ON ONE BATTLE AFTER ANOTHER
Paul Thomas Anderson’s One Battle After Another pushes VistaVision to new limits, delivering a gritty, high-speed road thriller with breathtaking scale, texture and cinematic precision.
JAMES FRIEND ASC BSC ON BALLAD OF A SMALL PLAYER
Colin Farrell navigates Macau’s dazzling casinos, with striking in-camera cinematography, innovative lenses and drone shots amplifying tension, glamour and moral uncertainty.
SEAMUS MCGARVEY ASC BSC ISC ON DIE MY LOVE
Shot on Ektachrome 100D and Panavision XL2 with PVintage and Petzval lenses, Die My Love fuses handheld, Steadicam, day-for-night and LED-stage techniques into hallucinatory cinema.
BARRY ACKROYD BSC ON A HOUSE OF DYNAMITE
Curiosity drives Kathryn Bigelow’s filmmaking, with intimate, documentary-informed camerawork capturing tense, timely narratives, immersing audiences in A House of Dynamite’s unfolding, multi-perspective thriller.
ROBBIE RYAN BSC ISC ON BUGONIA
Director and DP push cinematic boundaries, shooting entirely on VistaVision with rare cameras, prototype lenses, drones and inventive lighting to craft a visually daring thriller.
DAN LAUSTSEN ASC DFF ON FRANKENSTEIN
Blending classic in-camera techniques with large-format digital cinematography, Steadicam, cranes and miniatures to capture immersive, visually rich Gothic storytelling.
ALICE BROOKS ASC ON WICKED: FOR GOOD
A vivid, emotionally driven Oz comes alive through live lighting, lens choices and immersive camera work, blending practical effects, bespoke colour and intricate visual storytelling to convey character and consequence.
ULA PONTIKOS BSC ON THE MAN IN MY BASEMENT
Psychological thriller in the woods explores guilt, grief and ancestry through shifting light, shadow and intimate framing, creating tension, unease and dreamlike distortions.
KIRA KELLY ASC ON HIM
Fusing sports drama with psychological horror, the film blends Nike-style visuals and surrealism to track Cam Cade’s brutal, obsessive football journey.
MATTHEW LIBATIQUE ASC LPS ON CAUGHT STEALING
Darren Aronofsky’s Caught Stealing brings ’90s New York to life with Sony Venice 2, DJI Ronin 4D 8K, Ultra Baltars, Live Grain 16mm emulsions and inventive naturalistic lighting techniques.
JERMAINE EDWARDS ON MY FATHER’S SHADOW
Childhood perspective drives epic journey across 1993 Nigeria, captured on 16mm for timeless texture, vivid emotion and immersive streets, beaches and chaotic markets.
STEVEN BRECKON ON THE PLAGUE
A coming-of-age nightmare unfolds in immersive 35mm and digital visuals, using ENR-Technicolor-inspired techniques to capture the hidden chaos, anxiety and violence beneath adolescence’s surface.
ADOLPHO VELOSO ABC AIP ON TRAIN DREAMS
A period drama comes alive through naturalistic lighting, real fire and immersive camera work, capturing early 20th-century life with meticulous detail, environmental authenticity and tactile realism.
THE BIGGER PICTURE: SUSTAINABILITY
Film productions are increasingly adopting greener practices, using LEDs, batteries and efficient workflows to reduce environmental impact while enhancing creativity and flexibility.
EVENT PREVIEW: ENERGACAMERIMAGE FILM FESTIVAL
Festival director Marek Żydowicz presents this year’s event as a celebration of cinematography and a dynamic forum where artists, technologists and producers shape filmmaking’s future.
HERE’S WHAT ELSE YOU’LL FIND IN THE LATEST ISSUE…
EVENT REVIEW: CREATIVE ARTS EMMYS
Behind-the-scenes mastery stole the spotlight: daring single takes, immersive lighting and seamless camera work elevated everything from Severance to SNL, showing that collaboration is the ultimate award.
EVENT REVIEW: BFI LONDON FILM FESTIVAL
The 69th instalment dazzled with A-list premieres, star-studded red carpets and immersive Screen Talks—highlighting Wake Up Dead Man, H Is for Hawk, Wasteman and a rare Daniel Day-Lewis appearance.
EVENT REVIEW: MANAKI BROTHERS FILM FESTIVAL
North Macedonia welcomed masterclasses, world-class cinematography, lively screenings and unforgettable ceremonies as guests and locals alike celebrated the art of cinema in Bitola.
EVENT REVIEW: VENICE FILM FESTIVAL
La Serenissima shone with Jim Jarmusch’s Golden Lion win and Kim Novak’s Lifetime Achievement, featuring striking cinematography and premieres like The Smashing Machine.
MEET THE NEW WAVE: JOSH CARRINGTON BIRCH
Josh Carrington Birch on discovering cinematography through skiing, learning on set, story-led work, overcoming setbacks and his aspirations in film and TV.
IN THE FRAME: ETHAN MCDONALD
Focus puller Ethan McDonald shares his journey from camera fascination to leading 65mm work on Sinners, highlighting discipline, trust and collaboration.
BSC HERITAGE SERIES: JACK HILDYARD BSC
An acclaimed British cinematographer shaped cinema with masterful colour work, creating iconic visuals for David Lean and other legendary directors across decades.
PRESIDENT’S PERSPECTIVE
Film festivals champion emerging voices, preserve artistry and show how cinematography makes even the smallest stories profoundly impactful, writes Christopher Ross BSC.
GBCT NEWS
Robotic cameras, AI tools, and cutting-edge broadcast tech are sparking debate on automation, industry change and the uncertain future for freelancers.
IMAGO NEWS
Cinematographers worldwide showcase how cultural backgrounds, teamwork and creative approaches shape storytelling in film and television.
LETTER FROM AMERICA
Steven Poster ASC on advising at Sundance: mentoring rising directors alongside “Call me Bob” Redford, Mangold, and Anderson—filmmaking heaven in Utah mountains, horse rides and unforgettable summer magic.
SET TO POST
How post-production companies are driving innovation, showcasing cutting-edge techniques and shaping the look and feel of today’s film and television projects.
POINT OF VIEW
Digital and Print & Digital Subscribers can read our 132nd edition now by clicking here.
Print subscribers* will receive their copies in the post within the next fortnight.
Not a subscriber yet? Don’t worry – you can get your annual subscription now from just £30 ($39) by clicking here.
*Issue 132 will only be received in printed format by those with an active ‘Print’ or ‘Print & Digital’ subscription purchased before 5th November 2025. Any new ‘Print’ or ‘Print & Digital’ subscription purchases made from 5th November 2025 onwards will NOT receive this issue in print as part of their purchase.
