The Master (Paul Thomas Anderson, 2012) – On the top of the boatĮven though it is usually considered best suited for spectacle-driven films, Paul Thomas Anderson opted to shoot 2012’s “The Master” in 65mm, demonstrating that the richness of the format “can work just as well for intimate and character-driven stories” as FotoKem’s Andrew Oran, stated in an interview about the film for PVC. Talking about “the best (individual) shots in film” is a difficult task, not only because there’s thousands of equally deserving entries, but because meaning in cinema is usually better conveyed through the succession of frames, shots, and sequences.Ĭoncepts like “affinity” and “contrast” play a crucial role in achieving meaningful and lasting images, and although it would be easy to just name those that display the most aesthetically pleasing density within their borders, the ones featured here are just meant to show how filmmakers try their best to communicate with the viewer through the visual form.ģ0.

Best cinematography shots of all time