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The Toruń, Poland film festival dedicated to the art of cinematography has become homecoming week for directors of photography from around the globe. And while Camerimage organizers say they have no interest in the American awards season, cinematographers nominate cinematographers for the Oscars — and the 13 films that compete for the Golden Frog for Best Cinematography have become a predictor of the Academy’s Best Cinematography nominees.
The Camerimage 2019 Main Competition includes: “Ford v Ferrari” (DP Phedon Papamichael), “The Irishman” (DP Rodrigo Prieto), “Joker” (DP Lawrence Sher), “The Last Black Man in San Francisco” (DP Adam Newport-Berra), “Motherless Brooklyn” (DP Dick Pope), “The Two Popes” (DP César Charlone), “The Painted Bird” (DP Vladimír Smutný), “An Officer and a Spy” (DP Paweł Edelman), “Never Look Away” (DP Caleb Deschanel), “Mr. Jones” (DP Tomasz Naumiuk), “Shadow” (DP Xiaoding Zhao), “Bolden” (DP Neal Norton), and “Amundsen” (DP Paal Ulvik Rokseth).
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IndieWire has confirmed that the absence of the Roger Deakins-shot “1917” and Ed Lachman-shot “Dark Waters” — both legendary DPs who were feted at the festival in years past — is due to the films being unavailable to the festival, as they are still being finished.
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Beyond the earmark as being one of the year’s best-shot films, being in the Main Competition gives films an invaluable awards-season screening platform where studio strategists can guarantee that busy filmmakers (aka nominating voters) actually see the films. The bigger Camerimage competition films receive marquee screenings that anchor the evenings’ activities. Virtually every American Society of Cinematographers cinematographer at the festival will be in attendance before heading to a late-night dinner party sponsored by one of the major camera companies.
It’s hard to overestimate the value of the DPs presenting their work and discussing their craft with their tight-knit community....
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