Why the cinematography of Emmanuel Lubezki astounds

Lubezki’s name now signifies the gold standard in modern camera work

In Mexico, where Emmanuel Lubezki is from, he’s just known by a single moniker: Chivo.

Chivo, of course, means “goat” in Spanish – but in this case, it doesn’t stand for the friendly, two-horned animal; back home, Lubezki is referred to as G.O.A.T, quite simply, the greatest of all time.

Few would argue. The Oscar-winning cinematographer, known for his seminal applications of the Steadicam and single-take shots, already boasts of an unparalleled body of work. His influence on the art form —through films such as Gravity, The Revenant and Birdman — is iconic, serving as inspiration to technicians globally. Along with the other master, Roger Deakins, Lubezki’s name has come to signify the gold standard in modern camera work today, be it in feature films or otherwise.

Take for instance, his collaboration with Alejandro González Iñárritu on The Revenant, which was shot only with natural light. Braving the Canadian wilderness, Chivo manipulated the sunlight reflecting on the snowy mountains and the magnificent colours of the forest trees to an astonishing effect. Armed with an Arri Alexa 65 digital camera with lenses from 12mm to 21mm, the limited daylight hours didn’t deter him; the usage of fire in several scenes to enhance Leonardo DiCaprio’s silhouette and that of those around him proved to be an immersive experience, which ultimately won Lubezki his third Academy Award.

There was just one exception though, when the windy conditions caused the fire to jump around during a campfire sequence. “We had to lay a bunch of light bulbs around the fire to create a cushion of light," he admits in a 2015 interview to Variety. "That's all the light we ever used."

Such conditions aren’t new to Chivo; one of his most popular earlier works — the coming-of-age road film Y tu mamá también, directed by his friend and confidant Alfonso Cuarón — was also shot using 90 percent natural light. It’s also highlighted in another of his most original projects, Terrence Malik’s Tree of Life. Speaking to A.S.C on the technique, he explains, “When you put someone in front of a window, you’re getting the reflection from the blue sky, the clouds and the sun bouncing on the grass and in the room. You’re getting all these colours and a different quality of light. It’s very hard to go back to artificial light in the same movie. It’s like you’re setting a tone, and artificial light feels weird and awkward [after that].”

Lubezki knows how to wait for a perfect shot, but he also likes the dramatic flourish and noticeable beauty that he can bring to scenes, utilising the spaces and lighting around him. By pushing the Alexa (his favourite) to an ISO of 1280 with the aperture open wide, he not only makes the camera more sensitive to light, but reduces the need for labour-intensive set-ups and edits.