Top 10 Best-Shot Films of 1998-2008 All Shot on Kodak Film

A recent online poll conducted by American Cinematographer (AC) magazine, revealed the top 10 films of 1998-2008 were all produced on Kodak film.

Jean-Pierre Jeunet's Amélie, shot by Bruno Delbonnel, ASC, AFC, was ranked number one.
"This is a real honor for me, especially considering the other movies in this list," says Delbonnel. "These are some of the finest cinematographers, and I'm not sure I deserve to be among them, but I am very happy to be. They are all explorers."

The poll is a follow-up to one published in 1999 by AC, in honor of the American Society of Cinematographers' 80th anniversary; that vote covered the best-shot movies of 1894-1997 (www.theasc.com/magazine/mar99/best/index.htm). For the new poll, AC asked its international audience of subscribers to nominate 10 films released between 1998 and 2008 that they believed had the best cinematography. A final ballot listing the 50 most popular nominees was then posted on the ASC website (www.theasc.com), and the final vote was open to the public. More than 17,000 people around the world participated. The Top 10 results are:

  1. Amélie: Bruno Delbonnel, ASC, AFC (2001)
  2. Children of Men: Emmanuel Lubezki, ASC, AMC (2006)
  3. Saving Private Ryan: Janusz Kaminski (1998)
  4. There Will Be Blood: Robert Elswit, ASC (2007)
  5. No Country for Old Men: Roger Deakins, ASC, BSC (2007)
  6. Fight Club: Jeff Cronenweth, ASC (1999)
  7. The Dark Knight: Wally Pfister, ASC (2008)
  8. Road to Perdition: Conrad L. Hall, ASC (2002)
  9. Cidade de Deus (City of God): César Charlone, ABC (2002)
  10. American Beauty: Conrad L. Hall, ASC (1999)

"The wealth of great cinematography during this 10-year period was truly staggering, and the variety and scope of this Top 10 is the tip of the iceberg," says Michael Goi, president of the American Society of Cinematographers. "What's immediately evident is how international the craft of cinematography truly is, and how the ASC embraces these artists as its members, regardless of their geographical locations or the budgets they work with. It's all about the power of the moving image to tell stories."

American Cinematographer magazine will publish a feature about the Top 10 films in its August issue.