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IF I WERE GUARDING the gates of heaven, I’d let in all the cinematographers, no questions asked. They toil for such piddling rewards here on Earth. No matter how transcendent their efforts, they answer to a director who may or may not know anything about lenses or color grading but gets the bulk of the credit either way. On the rare occasion that a cinematographer receives some mainstream attention, it’s usually because there’s something showoff-y about the work: Emmanuel Lubezki’s look-ma-no-cuts trickery for Birdman, say, or Roger Deakins’s for 1917, which transplants roughly the same technique

New yorkUnited statesFrance generalBruno forestier michel suborJacquot philippe maronMichel suborLouise kacey mottet kleinEmmanuel lubezkiGabriele ferzettiAlex descasHarry dean stantonLionel alex descasUrsula meierJacques demyClaire denisMonica vitti