Arrival

If there’s a film that masterfully combines stunning visuals with profound storytelling, it’s Arrival. Bradford Young’s cinematography elevates the narrative, making the film not just something you watch, but something you deeply experience. Here’s a breakdown of what makes the cinematography in Arrival so exceptional.

Visual Aesthetics

Arrival has some of the most breathtaking cinematography in modern cinema, and it’s not just beautiful for the sake of being beautiful. Every frame feels deliberate, almost painterly, in its composition. The muted, earthy color palette creates a sense of isolation and contemplation, which is perfect for a story about language and communication. The wide shots of the alien spacecraft, bathed in light, are awe-inspiring, while the more intimate moments inside the craft feel confined, reflecting the internal emotional journey of the protagonist.

The use of light is subtle but incredibly effective. The way light filters through windows, or the lighting on Amy Adams’ face as she experiences the memories of her daughter, gives the film an ethereal, otherworldly feel. Even the shots of the Heptapods themselves are deliberately framed to create tension and mystery. The visuals in Arrival don’t just look pretty—they carry emotional weight.

Storytelling through Cinematography

The cinematography in Arrival goes hand-in-hand with its narrative structure, which is all about perception and understanding. The way the shots are composed mirrors the non-linear flow of time that the story explores. In the early scenes, the frame is often tight, almost claustrophobic, which mirrors Louise’s uncertainty and emotional state. As she begins to understand the Heptapods’ language, the cinematography opens up. Wide shots of the spacecraft, interspersed with moments of breathtaking beauty, give us a sense of both the vastness of the universe and Louise’s expanding understanding of time itself.

A great example is the scene where Louise walks into the ship for the first time. The space feels infinite, and the way the camera slowly pulls back reveals just how small and insignificant she feels in comparison. This isn’t just a sci-fi movie about aliens; it’s a movie about human connection, and the camera work makes that abundantly clear.

Camera Work‍

The camera work in Arrival is restrained but deeply immersive. There’s a strong sense of control in the way the camera moves, always keeping the focus on the characters and their emotions. A lot of the film is shot with ARRI ALEXA XT, a camera known for its ability to capture fine detail, handle low light, and provide a soft, filmic look. The ALEXA is perfect for creating that grounded, realistic feel that the film thrives on, making even the most abstract concepts feel tangible.

There’s also a subtle but crucial use of handheld shots that add to the film’s intimacy. In moments of emotional weight, such as when Louise is processing her past, the camera moves with her, almost like a silent observer.

Technical Mastery

Let’s dive into the fun side. Most of Arrival was shot using the ARRI ALEXA XT, paired with Ultra Prime Lenses and Super Speed Lenses from Panavision. The Ultra Prime lenses are known for their precise focus and smooth bokeh, which gave the film that soft, ethereal look that’s present in many of the film’s close-ups. These lenses are sharp but not overly clinical, allowing for a natural look without the harshness that some digital lenses can bring. The Super Speed Lenses, with their ability to shoot in low light, were used during some of the darker, more atmospheric shots, especially those inside the alien spacecraft.

But what really stands out is how Bradford Young used these lenses to emphasize imperfections. The soft distortion you see in some of the wide shots adds to the disorienting experience of trying to understand something completely foreign, like the Heptapods’ language or even the concept of time itself. The use of Vintage Ultra Prime Lenses also allowed for a bit of character in the visuals, contributing to the sense of history and memory that runs through the story.

In terms of technology, Young and his team minimized the use of CGI for many of the sequences, relying on practical effects to maintain a sense of realism. Even the Heptapod designs, while CGI, are integrated with the environment in such a way that they never feel out of place. It’s this blend of traditional cinematography techniques with modern digital tools that gives the film its unique visual style.

Use of Space and Environment

Space is almost like another character in Arrival. The way the alien spacecraft is framed makes it feel both vast and imposing, but also strangely inviting. The empty landscape around the ship heightens that sense of isolation, but there’s also something serene about it. The interiors of the ship are equally well-composed, with the lighting casting long shadows and creating an atmosphere that’s both foreboding and awe-inspiring.

The environment outside the ship—whether it’s the vast, snow-covered landscapes or the sterile, high-tech military base—also plays a big role in the story. These environments are minimalistic, almost devoid of life, which contrasts sharply with the warm, emotional journey Louise goes through. The framing of these environments reflects the narrative’s exploration of both the vastness of the universe and the smallness of human life within it.

Consistency and Intent

What I love about Arrival is that the cinematography never feels like it’s showing off. It’s always serving the story. Bradford Young’s work complements Denis Villeneuve’s direction perfectly, and there’s a consistency in the visual style that makes the film feel like one cohesive experience. From the very first frame to the last, the cinematography is focused on conveying a feeling of wonder, isolation, and the search for understanding.

Everything about the cinematography in Arrival feels intentional. There are no gratuitous shots or unnecessary flourishes. Every visual choice—whether it’s the framing of the spacecraft, the use of light, or the subtle movement of the camera—supports the narrative and enhances the emotional weight of the story.

Conclusion

Arrival is a perfect example of how cinematography can elevate a film’s themes and storytelling. Bradford Young’s work is not just about making the film look good—it’s about using visuals to deepen the audience’s emotional connection to the characters and their journey. The stunning use of natural light, the thoughtful lens choices, and the seamless integration of CGI all contribute to making Arrival one of the most visually striking films I’ve ever seen.

If I had to choose a film that showcases the power of cinematography to tell a story, Arrival would be at the top of the list.

My Favourite Frames