Top 10 Matthew Libatique Films

Cinematographer Matthew Libatique knows how to make a movie move. The films he shoots are energetic, vibrant, alive – they move. Whether opting for a modern and handheld approach, or traditional and elegant compositions, Libatique’s films have a vigor that is undeniable. Perhaps best known for his frequent collaborations with Darren Aronofsky (all of which are listed below), Libatique is a stylish cinematographer with a great command of his craft. Certainly one of the finest American DPs in the game.

10. Phone Booth (2002)

Anyone who can make a compelling movie set almost entirely in and around a phone booth deserves proper credit. Despite its purposeful physical limitations, Phone Booth is full of energy. Many can be thanked for this, but Libatique’s revolving, active, ice cold photography certainly favors the film plenty.

9. She Hate Me (2004)

She Hate Me is one of Spike Lee’s most critically derided films, but I’ve always found plenty to enjoy about it, chiefly Libatique’s photography. Most all of She Hate Me was captured with a highly saturated, grainy aesthetic. It’s a damn bold choice in a film full of them, but one I’ll always appreciate.

8. Inside Man (2006)

Libatique has worked with Spike Lee several times, having shot four of Lee’s features and two of his documentaries. Their most classically composed work together is Inside Man. The centered compositions, lavish crane shots and Steadicam one-take masters are all a sight to behold. And those grainy, harshly overexposed flashforwards are tops.

7. Tigerland (2000)

There are really two sides to Libatique’s shooting style: strictly classic and harshly modern. For Joel Schumacher’s little-seen war flick, Tigerland, Libatique chose the latter, which is interesting, given that the film takes place in the early ‘70s. But the grainy, almost combative look of the film suits the material perfectly. We feel like we’re right in the middle of the shit.

6. Pi (1998)

Darren Aronofsky’s Pi is a film synonymous with its look. When the movie gets brought up in conversation, the way it looks is almost always one of the first topics discussed. The stark monochrome, the harsh contrast (the blacks, so dark; the whites, so hot), the gritty Super 16mm stock – it’s all an essential part of what makes Pi, Pi.

5. Straight Outta Compton (2015)

During the first, explosive scene of Straight Outta Compton, I sat in complete awe of what I was watching. The scene, about a drug deal gone wrong involving a pre-N.W.A. Eazy-E, is alive with energy and tension, the camera whirling furiously, capturing unexpected but gorgeous lens flares with every turn. The film geek in me couldn’t wait until the final credits rolled, so I could know who shot the flick. And there it was: Director of Photography, Matthew Libatique. Certainly no surprise.

4. Noah (2014)

The lush time lapses, the beautiful magic hour silhouettes – Noah is Darren Aronofsky’s most traditional-looking film. He and Libatique made a very wise decision to let the Icelandic locations speak for themselves. They set the shot up and let the actors inhabit the setting; just look how that mountain swallows Russell Crowe in the above screenshot. And the colors constantly present such a stunning, natural dichotomy.

3. The Fountain (2006)

The Fountain juggles three different storylines, each separated by centuries of space and time. The photographical beauty of the film is that each storyline has its own unique look, while all clearly belonging to the same film. They’re part of a family in which every member has differences, but they all spawn from the same place.  

2. Requiem for a Dream (2000)

Much like Pi, it’s impossible to talk about Requiem for a Dream without mentioning the way it looks. The insanely tight close-ups, the stop-motion time lapses, the inverse POV camera rigs – this is one of the most innovative looking films I’ve ever seen. Look at it this way, Requiem was made for just $4.5 million and released 15 years ago and it is still a huge part of the American film conversation.

1. Black Swan (2010)

To watch Black Swan is to be overcome by its visual power. There isn’t a frame of this movie that isn’t meticulously thought out. The dance sequences are alive (there’s that word again) with fluid movement, tracking its subjects for extended takes, not letting anything disrupt the shot, mirrors included. The street scenes, where Nina’s fear and paranoia quickly consume her, are captured with a handheld anxiety that makes the film increasingly compelling. Libatique earned his only Oscar nomination for shooting Black Swan, and though he and the other nominees didn’t stand a chance against Wally Pfister’s work for Inception, I expect Libatique will earn plenty more Oscar seats in years to come.

Other Notable Films

Ruby Sparks

Abandon (2002)

Never Die Alone (2004)

Everything Is Illuminated (2005)

The Number 23 (2007)

Iron Man (2008)

Miracle at St. Anna (2008)

Kobe Doin’ Work (2009)

Passing Strange (2009)

Iron Man 2 (2010)

Ruby Sparks (2012)

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