40 — Elon Journal of Undergraduate Research in Communications, Vol. 12, No.

1 • Spring 2021

Naturalism in Cinematography: Examining the Work

of Emmanuel Lubezki

Mallory Siegenthaler

Cinema and Television Arts

Elon University

Submitted in partial fulfillment of the requirements in

an undergraduate senior capstone course in communications

Abstract
Films would not have the same emotional and visual impact on viewers without a cinematographer.
Cinematographers are responsible for eliciting audience emotion through various camera techniques. They do
not receive significant recognition from the general audience for their contributions to films. Emmanuel Lubezki
is a contemporary filmmaker with many credits and awards to support his mastery in cinematography. This study
analyzes six films that Lubezki shot for three distinct directors. These films each earned him an Academy Award
nomination for Best Cinematography. The findings suggest a feeling of naturalism to Lubezki’s visual style
across all film titles.

I. Introduction
In Alfonso Cuarón’s dystopian thriller Children of Men (2006), Theo Faron (played by Clive Owen),
sits in the back of a car alongside two other characters. In front are the driver, Luke (played by Chiwetel
Ejiofor), and Julian (played by Julianne Moore). They are on a paved road in a wooded area. Theo and Julian
banter with each other, then blow a ping pong ball back and forth. The passengers are laughing. However,
they are interrupted when a flaming car rolls down the hill and crashes into the road. A crowd of people rush
down the hill and start attacking the car. Luke puts the car in reverse and presses the gas pedal. The crowd
runs after the car. A motorcyclist catches up to the car and shoots Julian in the neck, killing her. In defense,
Theo swings the car door open, flipping the motorcycle. Soon, the car passes a group of police cars going
the other direction. However, one police car turns to chase them. The police catch up and stop the car to
interrogate the group. Luke pulls out a gun and shoots the two officers. The car drives off as the officers’
bodies remain in the street.
As described, this scene seems like a typical car chase scene with multiple fast cuts and insert shots.
While this scene has the complexity and flair of a blockbuster film, the execution is far from typical. This scene
was captured in one seamless take—a shot duration of nearly four minutes. The visual style is similar to
that of a documentary. The camera has a handheld feeling of movement, simply following the action without
the use of multiple cuts. This long, documentary-style take is the work of Emmanuel Lubezki. His desire to
push technical and visual boundaries has earned him a place as one of the most influential contemporary
cinematographers.

Keywords: cinematography, film analysis, naturalism, filmmaking

Email: msiegenthaler@elon.edu
 Examining the Work of Emmanuel Lubezki by Mallory Siegenthaler — 41
A cinematographer works closely with the director to shape the visual look and film of a film, or film
language. The cinematographer is responsible for crafting the film’s visual style in addition to making technical
decisions concerning the camera and lighting equipment. Lubezki has been nominated for an Academy Award
in Cinematography eight times. In 2014, he won for the first time for Gravity (2013). The next year, Lubezki
won again for the cinematography of Birdman (2014). And the following year, he won his third Academy
Award for his work on The Revenant (2015). His three-year run of winning the Oscar for Best Achievement in
Cinematography was a first in the award’s history (Busch, 2016). Lubezki’s historical victories demonstrate his
mastery of cinematography.
This paper intends to explore Lubezki’s visual philosophy through his use of composition lighting,
camera angle, camera movement, and shot duration. These decisions are made in tandem with the director
so that, along with the narrative, the film has a significant visual impact on viewers. For a film to be impactful,
the visuals must contribute to the story and characters. This visual impact would not be significant without the
contributions of a cinematographer.

II. Literature Review

Components of Cinematography
A film without cinematography is simply a screenplay. Johanna Heer, an Austrian cinematographer,
describes the craft as “a fascination with drama. The camera transforms the script onto the frame” (Heer,
1982, p. 48). Cinematographers transform a screenplay through the key components of cinematography. The
cinematographer takes mise-en-scène, camera movement, and lighting into consideration when developing
the visual style of a film.
Mise-en-scène is a term traditionally used in theater but has found another meaning in film. The term
“mise-en-scène” translates to “staging in action” (Columbia University, n.d.). Early cinema was shot much
like a stage production, so the term followed. Everything within the frame is considered to be a film’s mise-
en-scène. This component is important because it “gives a fuller illusion of life to the cinematic rendering”
(Greven, 2015, p. 77). The visual components within a frame help render an alternative world in film. Famed
director Martin Scorsese said, “cinema is a matter of what’s in the frame and what’s out” (Brody, 2011, para.
6). Components such as location, set design, and costumes are important aspects of the production that
ultimately end up in the frame.
Additionally, the key aspects of cinematography are included in the mise-en-scène as well. The
camera placement, camera angle, and composition should complement the production design and wardrobe,
furthering the story. The cinematographer, with the director, makes these decisions relating to the camera
placement, angle, and composition in order to show the spaces and details of the film’s world.
Camera movement is how the camera moves through the cinematic space. It allows the audience to
feel like they are immersed and moving with characters. Movement can also help convey the emotions of the
characters or contribute to the pacing of the story. The movement can be as simple as the camera remaining
in one position and tilting up and down or panning left and right. However, it can also include crane or dolly
movements where the entire camera’s placement shifts. The first significant camera move was operated by
Eugenio Promio, who would mount the camera on a moving train, or other moving automobiles (Columbia
University, n.d.). It would allow spectators to have the sensation of moving with the objects. But now, with
more advanced technology, cinematographers can control movement through robotic machines or computer-
generated imagery, or CGI (Columbia University, n.d.). Since films are a two-dimensional medium, camera
movement helps establish a three-dimensional world through its exploration of space.
The most important role of a cinematographer is arguably determining the lighting of a film. Described
as being “painters with light,” cinematographers must determine the quality, quantity, source, direction, and
hue of light in a scene (Clarke, 2017, p. 110). Light is how filmmakers traditionally exposed celluloid film to
create an image. However, it is also effective for dramatic storytelling. The lighting contributes to the tone of a
scene or movie, creating a dramatic—or undramatic—atmosphere (Columbia University, n.d.). For example,
the film noir genre enforced its dramatic tone with low key lighting (Columbia University, n.d.). These films are
generally pretty dark, but the objects and people in the light are brightly lit. Film noir filmmakers play with light
42 — Elon Journal of Undergraduate Research in Communications, Vol. 12, No. 1 • Spring 2021

and shadows creating a dramatic effect. This creates great contrast and a feeling of suspense and drama.
Contrastingly, high key lighting is when everything is evenly lit providing very little contrast between light and
dark. It occurs frequently in the comedy genre of film and television.
The role of a cinematographer cannot be reduced to simply capturing images. Johanna Heer writes,
“a cinematographer who is exclusively interested in visuals never can be a good cinematographer. The
cinematographer has to have an awareness, an interest, a concern for the philosophy, the ideas, the politics
of the film as these areas are naturally also portrayed and conveyed in the cinematography” (Heer, 1982, p.
69). In addition to visual acuteness, a cinematographer must understand dramatic structure and storytelling.

The Director-Cinematographer Relationship

To the general audience, the role of cinematographer is often overlooked. Most of the praise goes
toward the actors and director. While the director is responsible for envisioning the world, the cinematographer
helps execute that vision. The American Society of Cinematographers (ASC) is an exclusive organization of
cinematographers dedicated to “the purpose of advancing the art and science of cinematography and bringing
cinematographers together to exchange ideas, discuss techniques and promote the motion picture as an art
form” (Birchard, n.d.). The ASC attributes the overall look of the film to the cinematographer (Misek, 2010).
The cinematographer sets the look of the images based on the director’s vision.
The film industry is a collaborative workforce, so the cinematographer and director must inspire
and understand one another to create a strong, cohesive piece. Johanna Heer argues that the director-
cinematographer is a “delicate bond” that must “be experienced as an equal relationship” (Heer, 1982, p. 69).
The ASC stresses three words to explain the craft of cinematography: loyalty, progress, artistry (Birchard,
n.d.). The loyalty aspect is important when collaborating with the director.
Within the collaboration framework, the lines of film auteurship can also become blurred. As part of film
criticism, the Auteur Theory “holds that a director’s film reflects the director’s creative vision, as if they were the
primary ‘auteur.’ In spite of—and sometimes even because of—the production of the film as part of an industrial
process, the auteur’s creative voice is distinct enough to shine through all kinds of studio interference and
through the collective process” (Chaudhuri, 2013, p. 80). Sometimes it is easy to determine the director of a film
based on visual auteurship. However, it is also possible to determine the cinematographer based on the visual
look. This idea is true for Lubezki’s filmography. The modern cinematographer is no longer just a technician or
craftsperson, but “a skilled professional making a valuable contribution to the cinema – a contribution that could
best be described as aesthetic” (Keating, 2010, pp. 15-16).

Lubezki’s Partnerships
Terrence Malick, Alfonso Cuarón, and Alejandro González Iñárritu have one thing in common: their
frequent collaboration with cinematographer Emmanuel Lubezki. These directors are arguably considered
to be auteur filmmakers. However, Lubezki has been able to meet their visions while maintaining his distinct
aesthetic preferences.
Terrence Malick and Emmanuel Lubezki have collaborated on four feature-length films: The Tree of
Life (2011), To the Wonder (2012), Knight of Cups (2015), Song to Song (2017), and The New World (2005).
Lubezki earned Oscar nominations for Best Cinematography for his work on The Tree of Life and The New
World. Malick’s films are known for the use of natural settings (Trumbore, 2011). His films are less plot-driven
and pose more philosophical questions (Graham-Dixon, 2017). Because of the poetic nature of Malick’s films,
Lubezki has more ability to showcase his visual preferences. Lubezki enjoys working with Malick and said,
“he is somebody looking to tell stories with a pure filmic approach where the movies are not based on theatre,
but are much more purely cinematographic” (Lubezki, 2011, p. 22).
Lubezki describes Malick’s storytelling approach as being built up of “those little moments” (Lubezki,
2011, p. 22). While shooting The Tree of Life, Lubezki felt like the pair were making a documentary film. The
sets are full of “chaos” but in a positive way (Lubezki, 2011). Malick attempts to create organic, spontaneous
moments in life so that the camera perceives just that.
Alfonso Cuáron and Emmanuel Lubezki have collaborated on six films: Love in the Time of Hysteria
(1991), A Little Princess (1995), Great Expectations (1998), Y Tu Mamá También (2001), Children of Men
(2006), and Gravity (2013). Lubezki earned Oscar nominations for A Little Princess and another for Children of
Men. He won his first Oscar for his work on Gravity.
 Examining the Work of Emmanuel Lubezki by Mallory Siegenthaler — 43

Unlike Malick, Cuáron’s stories vary from project to project. Lubezki describes him as being a reptile:
“When he changes his skin, every time he finishes a movie, his next will be completely different from the
previous one. This movie (Gravity) was very different and I was excited to work on it” (Thompson, 2018, para. 3).
Cuáron has an affinity for a long shot duration. While Gravity and Children of Men have different film languages,
they both employ long takes.
Cuáron’s films Y Tu Mamá También and Children of Men have the documentary sensation similar to
Lubezki’s work in the Malick films. The camera takes an objective perspective. Cuáron describes the camera
as “not trying to make a judgment or a commentary, that everything there would be just the commentary
itself” (Thompson, 2018). The films were inspired by Gillo Pontecorvo’s Battle of Algiers (1967), which Cuáron
said they “loved for its naturalism and documentary feel” (Udden, 2009). Lubezki mostly used available light,
handheld camera movement, and allowed light to enter the barrel of the lens similar to a documentary. However,
they had the camera equipment and post-production resources of a blockbuster film (Udden, 2009).
A less frequent, but recent, collaborator of Lubezki is Alejandro G. Iñárritu. Lubezki was the
cinematographer for Iñárritu’s Birdman (2015) and The Revenant (2016). For both of these collaborations,
Lubezki won Oscars for Best Cinematography. Iñárritu’s film world “is one where almost no one can escape the
wrath of life unharmed” (Ruimy, 2016, para. 3). Iñárritu’s characters suffer from the brutality of humanity, so the
cinematography must reflect those hardships.
When Lubezki first started working with Iñárritu, he employed, “rhythmic long takes and surrealist
imagery…What they created was a new language for cinema, one in which the cinematographer had as much
of a role in the creative process as the director” (Ruimy, 2016, para. 5).
Similar to his long takes for Cuáron, Lubezki shot Birdman as if it was one continuous take. They did
not shoot the full movie in one take, but most of the sequences range from 10 to 15 minutes (Picone, 2015). In
Birdman, Lubezki allowed for lens flares, adding another point of visual interest in the frame.
While Lubezki has his aesthetic preferences, he is also able to adjust them accordingly. “The director is
the author of the movie, so in the end I’ll do whatever he wants me to do,” Lubezki said. “But my job is to tell him
what I see, and tell him honestly. Especially before you’re doing the shooting, you have to be absolutely sincere”
(Ordo, 2015, para. 17).
This study examines Lubezki’s works and observes how his preferred approaches to cinematography.
This study expands knowledge about the craft of cinematography, and also takes a critical look at one of the
most successful cinematographers of the 21st century.

Research Questions
The following research attempts to answer these questions:

RQ1: How does Lubezki approach the basic aspects of cinematography?

RQ2: What is Lubezki’s distinct visual style?

RQ3: How does Lubezki’s visual style vary when working with different directors?

III. Methods
This study is a critical film analysis of six films that credit Emmanuel Lubezki as the cinematographer.
These films were selected because Lubezki collaborated with the three directors—Malick, Cuáron, and
Iñárritu—discussed in the literature review and they include his Oscar nominations for Best Cinematography.
Because of Lubezki’s critical recognition, it only seems sensible to analyze these films to fully understand his
aesthetic preferences.
This paper will only examine the films’ cinematography, analyzing the key aspects of cinematography:
mise-en-scène, camera movement, and lighting. In addition to analyzing the cinematography, this paper
will take into account the context in which they are used. The directors’ own visual preferences will also be
mentioned to explore Lubezki’s consistencies and differences. Table 1 displays the movie, year, and director of
the films studied.
44 — Elon Journal of Undergraduate Research in Communications, Vol. 12, No. 1 • Spring 2021

Table 1. Movie Title, Year, and Director

Movie Year Director
The New World 2006 Terrence Malick
Children of Men 2007 Alfonso Cuáron
The Tree of Life 2012 Terrence Malick
Gravity 2013 Alfonso Cuáron
Birdman 2015 Alejandro González Iñárritu
The Revenant 2016 Alejandro González Iñárritu

IV. Discussion

Lubezki’s Cinematography Techniques

A. Mise-en-scène
Terrence Malick’s The New World (2006) is described by film critic Mark Cousins as “having paradise
and watching it slip away” (Cousins, 2007, para. 5). Because of this, Lubezki makes sure that nature and the
environment are dominant within the frame.

Figure 1.

Figure 2.

As seen in Figures 1 and 2, the characters Pocahontas and John Smith, the two protagonists of
the film, are taking up a significant amount of space within the frame. Malick wants to tell a story about
the developing relationship between these two people. He wants to portray the idea that the world is what
connects them. Lubezki is responsible for getting this idea across, so the environment is always shown,
even during intimate character moments, similar to Figures 1 and 2. The use of a wider lens allows Lubezki
to capture more of the natural landscape, which contributes to the story of English settlers discovering this
“new world.” Viewers are captivated by the landscape, similar to how John Smith and the settlers felt upon
discovery. Landscape and nature create the mise-en-scéne in this film.
Similarly, in Malick’s Tree of Life (2012), Lubezki highlights nature in each frame. Because this is an
abstract, philosophical film, Lubezki had the freedom to shoot cinematic landscapes including only nature
within the frame as shown in Figures 3 and 4.
 Examining the Work of Emmanuel Lubezki by Mallory Siegenthaler — 45

Figure 3.

Figure 4.

While both films are high-budget studio productions, Lubezki’s work with Cuáron differs between
the two films Children of Men (2007) and Gravity (2013) (Isaacs, 2016). Children of Men takes place in a
dystopian universe. To capture this world, Lubezki ensures that the objects within the frame add to the fact
that the characters are living in a dystopic environment.

Figure 5.

Because the dystopic world is important to the narrative, Lubezki often isolates Theo from the chaotic
environment to show his sense of loneliness. In Figure 5, Lubezki uses surface division to show Theo’s
isolation from the rest of the group. The wall divides Theo mentally and physically from his peers. Instead of
simply showing Theo in the frame, Lubezki ensures that Theo’s group appears in the background separated
by a physical wall to have a deeper visual and emotional impact on viewers.
46 — Elon Journal of Undergraduate Research in Communications, Vol. 12, No. 1 • Spring 2021

In contrast to the previous films, Lubezki relied on visual effects artists to capture the world in Gravity
since it takes place in space. Benjamin B., senior European correspondent for American Cinematographer,
notes that Lubezki creates a “beautiful but dangerous environment of space with a groundbreaking level of
realism and detail” (B., 2013, para. 2).

Figure 6.

While realism and detail are often attributed to Lubezki’s style, the environment captured in Figure 6
is not real. Except for the actors, the entire image is made up of CGI, which contrasts the documentary feel
of Children of Men. The increased presence of virtual space presents a new role for the cinematographer. A
cinematographer must learn how to adapt to working with visual effects artists. During the Gravity production
process, Lubezki said, “I had to learn to use some new tools that are part of what cinematography is
becoming” (B, 2013, para. 4). With the use of visual effects, critics question the artistry in cinematography
now that CGI is becoming more prevalent to build a world.
Despite the prominence of CGI, Lubezki must still be strategic in his camera placement and
movement. Realistically, space simply looks empty and black, so Lubezki had to find a way to make space
visually interesting. To pique interest, he used Earth as the background and framed the actors and subjects
in front of it. The use of Earth as the background provides visual consistency and guarantees visual interest
throughout the film.
Lubezki’s only films with Alejandro G. Iñárritu earned him two Academy Awards for Best
Cinematography. Birdman (2015) follows the story of washed-up actor Riggan who hopes to jumpstart his
career again through a Broadway production. This film is a character study, so the camera focuses on Riggan
and attempts to capture his inner feelings.

Figure 7.

Lubezki’s use of wide lenses for close-ups creates a claustrophobic feeling for both Riggan and
the audience, as in Figure 7. It conveys the feeling that the world is closing in on him and a sense of
hopelessness. “The wide lenses allowed me to be very, very close to him but still feel the [others] around
him,” Lubezki said. “In a normal movie, a close-up is a couple feet from the actor. Here the camera is probably
3 inches from his eye; you can see microscopic performance” (Ordo, 2015, para. 8). The camera closely
follows the performance of Riggan allowing the audience to study the character and his acting with a careful
eye.
 Examining the Work of Emmanuel Lubezki by Mallory Siegenthaler — 47

Figure 8.
The Revenant, shown in Figure 8, tells the story of frontiersman Hugh Glass and his quest for
vengeance and survival. Lubezki focuses on both Hugh and the environment in this film. Both character
and environment are important in telling the story. In Figure 8, Hugh is the main point of focus, but the
environment is still visible and apparent. “We wanted a strong, visceral, immersive and naturalistic experience
for the audience – not just to follow the journey of the central character, but to make it feel as if it was actually
happening in front of their eyes,” Lubezki said, “We wanted the audience to feel the sheer cold, to see the
breath of the actors on the lens, and experience the powerful emotions in the story” (British Cinematographer,
2017, para. 5). In both of his films with Iñarritu, Lubezki uses a wide lens and gets close to the actor to
capture every little movement and expression of the character.

B. Camera Movement
There is one thing in common through Lubezki’s work as a cinematographer. The camera is never
still. The camera is always moving in some way. For Malick’s films, Lubezki’s camera operator Jörg Widmer
said, “When actors move their hands and touch each other, you can follow the hand, and then you come
back to a close-up, so if it’s all in the movement it looks so natural. It’s like the flow of water. It’s really a
very immediate way of telling a story. So, you can totally react to whatever they do” (O’Falt, 2020, para. 21).
Lubezki establishes a sense of freedom by reacting to character movements rather than anticipating them.
Lubezki followed this same philosophy in The Revenant but with minor adjustments. Iñárritu wanted
the film to look like it was unfolding in real-time (Salisbury, 2016). Lubezki used handheld movement
that typically reminds viewers of a raw, documentary feeling. “Alejandro likes the camera to look slightly
accidental, as if you have maybe missed something, or you arrive slightly late – it gives the audience a feeling
of the suddenness of events,” Lubezki said, “It’s very different to the style in a Terry Malick movie, where the
camera is more lyrical, conscious and descriptive” (British Cinematographer, 2017, para. 11). When working
with both Malick and Iñarritu, Lubezki uses the camera to react to the character’s movements. However, in
The Revenant, the movement is a little rougher and sharper. While in Malick films, the movement is more
refined.
In his films with Cuáron and Iñárritu, Lubezki shot long takes of continuous movement. The long take
in Children of Men was described in the introduction of this paper. This camera movement was achieved
through an electronic camera rig. The camera was able to follow the action of the vehicle by using this
electronic rig. Cuáron’s Gravity does the same thing and opens up with a 13-minute-long continuous take
(B., 2013). It is a view of Earth from space. The camera slowly gets closer to the space station as it reveals
the astronauts. Benjamin B. writes, “the 3-D feature is enhanced by long takes and fluid camerawork that
immerse the viewer” (B., 2013, para. 2).
Iñarritu’s Birdman is intended to look and feel like one continuous shot the entire time. Lubezki had to
strategically shoot the film in order to allow the editors to cut seamlessly between each shot. He only included
movements that felt motivated given the context of the story. In an interview, Lubezki said, “I also wanted
to be sure that we weren’t doing that just to do it, the camera movement was organic to the story. I hate the
word organic, but it was really part of the story, part of the energy of the characters … We added a couple of
cuts, but the movements help get the audience into the world of the characters, so the movie feels immersive
and immediate” (ARRI, 2014, para. 7). In these films, Lubezki created a more immersive experience through
his use of long takes and motivated camera movement.
48 — Elon Journal of Undergraduate Research in Communications, Vol. 12, No. 1 • Spring 2021
C. Lighting
The hue, quality, direction, and type of light are all important decisions that a cinematographer
must make when lighting a scene. However, this study is not a technical study of Lubezki’s methods, so the
research only includes a general discussion of lighting. When Lubezki lights a scene, he usually opts for
available—natural—or practical lights—lights visible within the frame. He only seems to add artificial lighting
when needed.
In both The New World and Tree of Life, Lubezki used available light and practical light. Since both
films stress the role of nature, it is a logical choice to use sunlight as the main source of light.

Figure 9.

Figure 9 shows Mrs. O’Brien—played by Jessica Chastain—in Tree of Life. She is positioned right
beside a window. Aside from the fact that she is looking out the window, she is positioned there because
it provides light on her face. Lubezki uses the sunlight coming through the window to light the right side of
her face. However, he does not add any fill light to light the left side of her face. It remains dark like the rest
of the room. The high contrast in the lighting on Mrs. O’Brian’s face is typically used to show a character’s
uncertainty in life.

Figure 10.
In Children of Men, many scenes take place outside or in buildings with large windows; therefore,
Lubezki has the opportunity to use available light often. Because there are many car scenes in this film,
the easiest way to avoid moving lights with the vehicle is to light with the sun. In Figure 10, Theo’s face is
dark because the sun is behind him. However, the sun lights the outline of the car and the field behind him.
Because Lubezki aims the barrel of the lens at the sun, the light creates a lens flare, which adds another point
of visual interest and sense of naturalism.
 Examining the Work of Emmanuel Lubezki by Mallory Siegenthaler — 49

Figure 11.

The Revenant, as shown in Figure 11, only used available light, which limited the number of daily
shooting hours (British Cinematographer, 2017). Lubezki had to consider the sun’s position, quality, and
hue of light at each point in the day to create the look of this film. On set, Iñárritu had the actors rehearse
until the perfect light presented itself, which then prompted Lubezki to roll the camera (Salisbury, 2016). In
Figure 11, Hugh is lit from behind by the sun. The sun creates an outline around Hugh’s profile and adds
several highlights to the high points of Hugh’s face. Similar to Figure 10, Lubezki aimed the lens barrel at the
sun, thus outlining the character and creating a lens flare. The sun’s high position in the sky lights the entire
landscape as well as Hugh. Lubezki captured the vast environment in which Hugh is surrounded. Through
this lighting, Lubezki emphasizes Hugh’s isolation in the wilderness.
In Birdman, many of the scenes take place inside, so the opportunities for available light are more
restricted. However, this film is centered on a Broadway production. This allowed Lubezki to utilize stage
lighting and practical lighting to capture the image.

Figure 12.

Figure 12 shows Riggan in a stage production. The theater lights in the background are not doing
much to light the scene, but they do create an atmosphere. The light exposing the characters is coming from
off the screen, but it is clear that it is a stage spotlight. The spotlight lights the side of the characters opposite
to the camera. Similar to Figures 10 and 11, the light hits the highest points of the face and body, creating an
outline around the characters. These three stills also show a visual preference that Lubezki uses: the lens
flare.
In contrast to the previously described lighting techniques, Gravity uses artificial lighting. This
decision is logical considering the film is shot in studio spaces and visual effects make up a large part of the
mise-en-scéne, such as in Figure 13.
50 — Elon Journal of Undergraduate Research in Communications, Vol. 12, No. 1 • Spring 2021

Figure 13.
Lubezki lit the exterior space scenes by using nearly 2 million lights, which is a laborious and innovative
practice (Picone, 2014). “In space, there is no atmosphere or water vapor to reflect and refract particles of light.
All light from the sun and spacecraft are direct and unfiltered, a unique look rarely as realistically portrayed as
in Gravity,” New York Film Academy writer Jack Picone said. “By using 1.8 million individual LED lights, the film
was able to make space look more like space, even on a subconscious level the audience may not fully realize,
which furthers the immersion into the world of the movie” (Picone, 2014, para. 6).
Although Gravity relies heavily on the work of visual effects artists, Lubezki is still able to maintain
his preferences for naturalism. In this film, Lubezki employs his signature use of lens flares to make the
environment and its light seem real. He strategically uses artificial lighting to achieve the most natural-looking
light. Space films have a little more freedom in lighting since many people do not know what the available
light looks like in space, but Lubezki stays true to his aesthetic style, opting for naturalism.

Lubezki’s Cinematography Style

While Lubezki collaborates with varying directors on differing stories, there is one commonality
among his films: a sense of naturalism. His visual style changes depending on the film’s story, but there
are key components to his approach to the craft that remain the same. As previously stated, Lubezki often
employs long takes, lens flares, and handheld movement often associated with documentary filmmaking.
Although Lubezki employs CGI and new technology to supplement his cinematography, he makes sure that
his images are realistic and give off the sense of being natural.
Lubezki’s 2015 Oscar win for Birdman proved that “a return to muscular methods in natural conditions
can reinvigorate an aesthetic” (Clarke, 2017, p. 121). Even with the expanding digital capabilities for film,
Lubezki’s realistic approach to cinematography is still relevant and appreciated in contemporary cinema.
Lubezki’s ability to capture human emotion and seemingly organic moments while employing the
craft of cinematography is why he is considered an influential contemporary cinematographer. He has a deep
understanding of how light works and how to use film aesthetics, such as mise-en-scène, movement, and
lighting to elevate a director’s vision and narrative.

V. Conclusion
This study has its limitations, such as the sample size. The study only observes six films, but Lubezki
has served on 46 titles as the cinematographer. This study also does not take into consideration other
genres of work he has worked on, such as commercial work. This research uses criticism from professional
filmmakers and film critics and does not present any general audience opinions, which presents another
limitation of the study. There are multiple approaches for a study of Lubezki’s work, and this one analyzes
only the top critically acclaimed films. This study should be considered as a general, introductory analysis of
Lubezki’s work.
It is clear that Lubezki has proven himself a master in cinematography. He can work with directors
well, furthering the film’s narrative and causing an emotional impact. With his use of mise-en-scène, camera
movement, and lighting, he is able to create a sense of realism and naturalism when capturing a film’s world
and its characters. Since many of these films are character-driven, Lubezki is influenced to capture images
that truly capture the characters’ emotions and journey. He knows how to tell a story in the most natural,
 Examining the Work of Emmanuel Lubezki by Mallory Siegenthaler — 51

organic manner. It is arguable that Lubezki has his own signature and sense of auteurship based on the
consistencies of his preferences through these six films. He will continue to provide a sense of naturalism
through his preferred cinematography techniques in his future work.

Acknowledgements
The author is appreciative of Dr. Jane O’Boyle for her guidance and support throughout the editing
and publication process. Additionally, the author would like to thank the professors in the Cinema and
Television Arts Department for being valuable resources and fostering her interest in cinematography.

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