Vijeta Dahiya

Here is my list :

1. Persona (Sven Nykvist) - the single-point lighting and the unique way of capturing close-ups of faces

2. Fanny and Alexander (Sven Nykvist) - organic, logical, naturalistic lighting at its best. Complimented by the great art direction.

3. Red Desert (Carlo Di Palma) - unique use of colour (which is not saturated, which is not glossy). the colour depicts the mood.

4. 3-iron (Jang Seung-Beck) - the abstract story expressed through abstract angles and soft lighting...

5. Chungking Express, Away with words (Christopher Doyle) - highly stylish. The compositions, a daze of colour, camera movements of the hand-held cam that will show you more than can be seen by naked eye. Integral with the poetic tone of the film

6. Amelie (Bruno Delbonnel) - Highly eloquent. this fairy tale has each and every shot carefully crafted like a painter's work.

7. Turtles can fly (Shahriar Assadi) - haunting compositions and lighting. unsettling frontal shots to depict the micro-effects of a war

8. Melancholia (Manuel Alberto Claro) - the grand compositions, the colour, organic camera movement, shows the melancholy of a nice world in this apocalyptic drama.

9. Jalsaghar (Subrata Mitra) - The declining legacy of a landlord. Wonderful naturalistic lighting, simplistic compositions, minimalistic sets, how objects enter and leave the frame. Great chemistry between a film-maker and cinematographer.

10. Requiem for a dream (Matthew Libatique) - unconventioned narrative of this ensemble well supported by the cut-crisp cinematography will have a long-lasting impact on you

11. Go go second time virgin (Hideo Ito) - one of the most unsettling movies ever. the casual, informal camera work

12. Pieta (Cho Yeong-Jik) - dark, sinewy. Not just the light, but also the shadow is important in cinematography.

13. La Dolce Vita (Ortello Martelli) - Cinema is resemblance of life, but gets more real than life itself. Grand, highly organic.

I won't say that these are the greatest, but my favourites and the ones I remember right now.

Here is my list :

1. Persona (Sven Nykvist) - the single-point lighting and the unique way of capturing close-ups of faces

2. Fanny and Alexander (Sven Nykvist) - organic, logical, naturalistic lighting at its best. Complimented by the great art direction.

3. Red Desert (Carlo Di Palma) - unique use of colour (which is not saturated, which is not glossy). the colour depicts the mood.

4. 3-iron (Jang Seung-Beck) - the abstract story expressed through abstract angles and soft lighting...

5. Chungking Express, Away with words (Christopher Doyle) - highly stylish. The compositions, a daze of colour, camera movements of the hand-held cam that will show you more than can be seen by naked eye. Integral with the poetic tone of the film

6. Amelie (Bruno Delbonnel) - Highly eloquent. this fairy tale has each and every shot carefully crafted like a painter's work.

7. Turtles can fly (Shahriar Assadi) - haunting compositions and lighting. unsettling frontal shots to depict the micro-effects of a war

8. Melancholia (Manuel Alberto Claro) - the grand compositions, the colour, organic camera movement, shows the melancholy of a nice world in this apocalyptic drama.

9. Jalsaghar (Subrata Mitra) - The declining legacy of a landlord. Wonderful naturalistic lighting, simplistic compositions, minimalistic sets, how objects enter and leave the frame. Great chemistry between a film-maker and cinematographer.

10. Requiem for a dream (Matthew Libatique) - unconventioned narrative of this ensemble well supported by the cut-crisp cinematography will have a long-lasting impact on you

11. Go go second time virgin (Hideo Ito) - one of the most unsettling movies ever. the casual, informal camera work

12. Pieta (Cho Yeong-Jik) - dark, sinewy. Not just the light, but also the shadow is important in cinematography.

13. La Dolce Vita (Ortello Martelli) - Cinema is resemblance of life, but gets more real than life itself. Grand, highly organic.

I won't say that these are the greatest, but my favourites and the ones I remember right now.