Ever wondered why these A24 movies give you the creeps? Well, it's the magic of cinematography, and we have some DOPs to thank them for!
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Ever wondered why these A24 movies give you the creeps? Well, it's the magic of cinematography, and we have some DOPs to thank them for!
Seen A24 movies? Notice that despite the charms and color palettes that any A24 movie has, it still looks… dreadful. Known for making unique horror and art horror movies, A24 Studios made a name for itself with the release of iconic movies like Hereditary, Midsommar, The Lighthouse, and more.
From the stark silhouettes and shadows to the raging volcanoes and majestic landscapes, A24 movies have a certain look and feel in every different movie. Well, thanks to the cinematographers and the Directors of Photography (DOPs), A24 Studios can make even the grandest of movies feel bleak and sad. So, here’s who you should thank for giving you the creeps while watching the festivities of Sweden and getting scared beyond recognition:
Often filled with dread, stark, and isolation in the films, Jarin Blaschke is famous for making period movies with color spectrums that range from bleak to black-and-white. Having gorgeous lighting and some gorgeous black-and-white cinematography, Jarin Blaschke’s A24 films are made for period set pieces and fill the audience with a sense of impending dread and a feeling of doom.
Some of his famous A24 movies include the 2015 Anya Taylor-Joy period flick The Witch, as well as the iconic 2019 Robert Pattinson and Willem Dafoe horror movie, The Lighthouse (which was filmed in complete black-and-white).
Being the opposite of Jarin Blaschke, Pawel Pogorozelski’s films are made with wide, open spaces that are quite uncomfortable to watch. With a usage of natural light falling in a scene that feels oppressive and gives the look of something mysterious deity at work, Pawel Pogorozelski focuses on wide symmetrical shots that feel unsettling and nervous to watch.
From wide angles to closeted spaces, Pawel Pogorozelski was the DOP of Ari Aster’s iconic 2018 movie, Hereditary (that is still deemed as one of the finest horror movies ever made), alongside Florence Pugh’s sweetest Sweden vacation, Midsommar (if you know, you know).
Being a bit out of the blue for A24 Studios, James Laxton’s films are rich in color and filled with vibrant palettes that emphasize character emotion over the cinematic shots. Often featuring close-ups, intimate moments, and tender to the touch, James Laxton’s movies are all about fluid movements and character stories that serve the larger cinematic story.
Some of his iconic work includes the 2016 Oscar-winning movie, Moonlight, and If Beale Street Could Talk.
Ultra clean, sleek, and futuristic in style, Rob Hardy’s work is often cold, stark, and sterile. Hardy’s work with the camera gives you a sense of loneliness, cold, and bleak futuristic tech that highlights the emotional distance between the main character and the increasingly modern world that technology has created.
With a precision for coldness, a feeling of being pursued with wide-angle shots, and a color palette that ranges from tech-blue and bleak tones, Rob Hardy’s famous works with A24 include the 2014 film Ex Machina and the highly disturbing 2022 film Men.
Fast, relentless, chaotic, and highly kinetic movements are what DOP Darius Khondji is all about when it comes to his work. A bit odd for A24, which is known for making slow-burning movies; however, Darious Khondji’s work has been noted and appreciated worldwide.
Using saturated color palettes that intensify anxious feelings, while the camera movement is quick and not too stable, Darius Khondji’s work with A24 includes the highly acclaimed 2019 film, Uncut Gems, which famously starred Adam Sandler as well as The Weeknd!
Last but not least, Lachlan Milne’s usage of light in a very gentle and warming tone creates some of the best scenes that showcase realism and a sense of time slipping away. With a focus on gentleness, a keen observation of things, and being grounded in terms of cinematic shots, Lachlan Milne’s films are often gentle, warm, and inviting in terms of emotions.
His famous work with A24 Studios includes the iconic 2020 Oscar-winning Korean film, Minari.
Their usage of underexposure or overexposure, combined with intense color palettes or none at all, creates a rich atmosphere where viewers truly do not feel alone. You will be warm and giddy if it’s a romantic film like Minari, but you will be afraid to sleep at night if it’s an unsettling film like Men.
It is thanks to these artists that millions of people around the world are enjoying A24 films, and it is thanks to them that we also get sleepless nights thinking that something’s lurking in the underexposed corner of our room.
