First, we’ve got nearly 300 gorgeous images from 2018’s THE NIGHTINGALE, directed by Jennifer Kent and shot by Radek Ladczuk. Set in a Tasmanian penal colony in the early 19th century, this bloody tale of revenge and redemption features the boxier aspect ratio of 1.37:1, unusual for a western grounded in such an evocative landscape. Kent stated that she wanted the film, first and foremost, to be centered on the characters instead of the environment and felt that the Academy ratio allowed her to let the actors dominate the frame. For an interesting visual comparison, try looking at search results for both The Nightingale as well as 2016’s The Witch and see where the two films differ in handling a similar period setting, with low contrast desaturated color schemes, and sub-1.85 aspect ratios.

Then we’ve got new images from Olivia Wilde’s hilarious coming of age comedy, BOOKSMART. Shot by Jason McCormick on Panavision T series anamorphic lenses, the film has a slight vintage look that is unusual for a contemporary teen comedy but suits the somewhat nostalgic feel of the film perfectly. The film is also a great reference if you’re specifically looking for warm, soft, interior, nighttime lighting. The images in the library and the fancy dining room are some of my favorite.

And finally we have Baz Luhrmann’s 2008 historical romance, AUSTRALIA, shot by the incredible Mandy Walker. Given the story’s epic scale and the film’s ample $130mil budget, Walker had to manage a crew of over one hundred, with several multi-camera units shooting simultaneously, a career first at the time. The results speak for themselves, as the film effortlessly imbues both intimate character scenes and grand set pieces with equal emotional weight. It’s no wonder Luhrmann once described Walker as “an artist and a general” and will be teaming up with her again next year for his Elvis Presley biopic.