ARRI Announces that Five of the Ten Nominees for Best Picture at the 97th Academy Awards Were Shot with Its Cameras

ARRI always has a presence at the Oscars! Today, They proudly announced that five of the ten films nominated for the 97th Academy Awards Best Picture were shot with ARRI equipment.

The Oscars Best Picture nominees shot with ARRI cameras are:

Despite the devastating damage caused by a devastating fire that raged across Los Angeles, the 97th Academy Awards ceremony, hosted by the Academy of Motion Picture Arts and Sciences, went ahead on March 2, 2025 at the Dolby Theater in Los Angeles.

“Anora” wins the Academy Award for Best Picture

Anora, which premiered at the Cannes Film Festival and won the Palme d’Or, was also a big hit this Oscar season, winning five of the six categories it was nominated for (Best Picture, Best Director, Best Original Screenplay, Best Film Editing and Best Actress).

Indie filmmaker Sean Baker’s Anora stars Best Actress winner Mikey Madison as Anora, a Brooklyn-based sex worker who becomes romantically involved with Ivan, the son of a Russian oligarch. Their relationship is initially transactional but develops into a complex tale of love, betrayal and societal expectations. Baker has made a name for himself by rejecting many of Hollywood’s norms; he embraces low budgets, unsung actors and difficult themes, preferring to shine a spotlight on underrepresented aspects of American society.

Arri Gear Used in “Anora”

The cinematography of “Anora” showcased the film’s commitment to realism and immersive storytelling. “Anora” was shot on ARRICAM LT 35mm film cameras by Director of Photography Drew Daniels and framed in widescreen 2.40:1, 4-perf anamorphic, using vintage LOMO primes and zoom lenses, as well as Atlas Orion lenses for low light scenes.

Supported by a team from ARRI Rental in Burbank during tests and a team from ARRI Rental in New York at the start of production, Cinematographer Drew Daniels employed a visual style that paid homage to 1970s New York crime dramas, blending classic elements with modern sophistication, with a textured, authentic look that captured the rugged essence of Brooklyn neighborhoods like Brighton Beach and Coney Island.

Of the other nine films nominated for the Academy Award for Best Picture, four were shot with ARRI cameras and three were provided by ARRI Rental. The teams behind “The Brutalist” and “Dune: Part Two” used ARRI cameras and services, and were nominated for Best Cinematography along with Best Picture.

“Dune: Part Two”

Directed by Denis Villeneuve, Dune: Part Two continues the epic saga of Paul Atreides (Timothée Chalamet) on the desert planet Arrakis. It follows Paul’s journey as he teams up with the Freemen to avenge his family’s death and take on the oppressive Harkonnen regime. It was nominated for five Academy Awards and won two, for Best Visual Effects and Best Sound.

Gear used for “Dune: Part Two”

Villeneuve’s epic sci-fi film reprises cinematography by Oscar-winning cinematographer Craig Fraser, ACS, ASC, who worked on the franchise’s first installment in 2022. To capture the visual grandeur and artistic depth of the vast desert scenes, Fraser shot Dune: Part Two with ALEXA 65 and ALEXA Mini LF cameras, using a variety of lenses, including specialized optics from ARRI Rental, who also provided IMAX-certified cameras, lenses and grip equipment.

Director of Photography Craig Fraser, who was an early adopter of the ALEXA 65, said in a previous interview with ARRI that he wanted to use the camera system on this film.

“The Substance”

The winner of the Best Picture award was “The Substance,” starring Best Actress nominee Demi Moore. The unconventional body horror film was directed by Coralie Farrugia and had cinematography by Benjamin Krachun BSC. Although horror is a genre that typically doesn’t get much attention from the Academy, “The Substance” was nominated in five categories (Best Picture, Best Director, Best Original Screenplay, Best Actress, and Best Makeup and Hairstyling) and went on to win an Oscar.

The cinematography of “The Substance” is a key element of the film’s eerie and unsettling atmosphere, while also complementing its deeper themes of transformation and identity. Cinematographer Krachun used a variety of techniques to visually enhance the film’s narrative, fusing a surreal, dreamlike quality with intense, visceral body horror sequences. In particular, the ALEXA Mini LF was chosen for its ability to capture accurate and beautiful skin tones.

“ARRI TRINITY camera stabilizers were also used to capture the action smoothly and agilely,” said DP Benjamin Krachun. “The film’s bold use of color reflects Elizabeth’s psychological and physical changes throughout the story. Practical effects such as body-mounted camera rigs help immerse the viewer in the characters’ experiences, amplifying the sense of intimacy and discomfort, while deliberately harsh lighting conveys the protagonist’s vulnerability.”

“Wicked”

A favorite among audiences and critics alike, Wicked is the musical fantasy film that is the first part of a two-part film adaptation of the acclaimed Broadway musical. In addition to Best Picture, the film was nominated for nine Academy Awards, including for Best Actress for stars Cynthia Erivo and Ariana Grande (Best Supporting Actress), Score (Original Song), Costume Design, Makeup & Hairstyling, Production Design and Visual Effects.

The film won awards for Best Make-up and Hairstyling, Best Production Design, was nominated for an ASC Award for Best Cinematography, and has been nominated for many other international awards.

Which gear was used in “Wicked”

Directed by Jon M. Chu with cinematography by Alice Brooks ASC, Wicked’s cinematography has been praised for its vibrant and imaginative visual style that brings the magical world of Oz to life. Brooks used lighting and color to create a dreamy atmosphere while maintaining an intimate yet cinematic feel. Audiences can recognize how Brooks’ background in theater and dance influenced his ability to capture dynamic choreography and performance. For this epic production, DP Brooks chose ARRI Rental ALEXA 65 cameras.

Speaking with ARRI, DP Alice Brooks commented: “We wanted to capture the vastness of Oz, but the heart of the film is the close-ups of the two women, and we knew the ALEXA 65 could deliver that.”

Best Cinematography Oscar

Four of the five films nominated for the Best Cinematography award were shot with ARRI cameras, and three of the five were shot with ARRI rentals. The Academy Award for Best Cinematography went to “The Brutalist.” The following films were nominated for the Best Cinematography award and were shot with ARRI cameras:

All five of the nominees in the Visual Effects category were shot with ARRI cameras. The Academy Award for Best Visual Effects went to “Dune: Part Two.” The following visual effects nominees were shot with ARRI cameras: