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A number of major craft challenges for hair department head Camille Friend, in returning to the world of Black Panther for the sequel Wakanda Forever, surrounded the civilization of the Talokanil — descendants of the Mayans with a kingdom on the ocean floor, who surface to go to war with Wakanda, upon the passing of its beloved king.

“Black Panther: Wakanda Forever” hair department head Camille Friend’s nomination could have been a precursor to her Oscar nom. She could also make history by becoming the third Black hair department
head to win an Academy Award for hair and makeup. (

Director Todd Field and cinematographer Florian Hoffmeister tell IndieWire how custom lenses and a digital film emulsion system gave "TÁR" its singular visual style.

Tuesday morning was a big day for Everything Everywhere All At Once, the quirky sci-fi action comedy that came out of seemingly nowhere last spring to be a big hit and, not incidentally, receive more Oscar nominations than any other 2022 film, including one for Paul Rogers, the editor who rode herd over the film, balancing its relentless, sometimes ridiculous momentum with quieter scenes.

"I’m so excited and honored and proud," she tells The Hollywood Reporter, describing the close collaboration with Baz Luhrmann and the team.

We sat down with cinematographer Chayse Irvin ASC, CSC for a behind-the-scenes look of BLONDE—a fictionalized biopic of Hollywood icon Marilyn Monroe. When asked what drew him to shooting with VENICE, Irvin said, “It allowed me to improvise and trust that the image would come in with the richness and texture that I liked.”

Oscar-winner Deborah L. Scott, who will receive the Costume Designers Guild's Career Achievement Award next month, dressed the Na'vi with feathers, seagrass and shells.

Film editor Paul Rogers began to edit films as a fun way to get out of doing schoolwork. Instead of doing a final project, Rogers and his friend would shoot a movie, which opened up a whole new career path for him. “I loved it and I had never felt that engaged and excited about anything creatively,” he says.

TheWrap magazine: Autumn Durald Arkapaw says director Ryan Coogler ”wanted to make this deep-space kind of movie, underwater“

Florian Hoffmeister filmed Cate Blanchett from carefully chosen angles that create the spooky illusion that she is being watched at all times

It’s that human touch that gives the largely CGI film its credibility, which led Scott and her team to create over 2,000 garments – even though a tiny fraction of practical creations are seen on screen. “We actually made, in The Way of Water and further into Avatar 3, we’ve made every single costume,” Scott revealed. “Every costume, every prop, every piece of jewelry. I did all the hair designs, the tattooing—all that. Everything was sort of under the umbrella of the costume department.”

Cinematographer Matthew Libatique, ASC is joined by interviewer Tommy Maddox-Upshaw, ASC to discuss his work on Don’t Worry Darling and The Whale — the latest features from directors Olivia Wilde and Darren Aronofsky, respectively.

DP Claudio Miranda helped develop a lightweight camera system, which will be refined as he reteams with director Joseph Kosinski on their upcoming Formula One drama.

After four long years, the vibrant and beautiful world of Wakanda is back on our screens and in our hearts with Black Panther: Wakanda Forever. Much of the crew and cast are back as well, including director Ryan Coogler, costume designer Ruth Carter, and Angela Bassett as Queen Ramonda, along with newcomers including Michaela Coel as Aneka and Tenoch Huerta as Namor. Hair department head Camille Friend also returns, delivering hair looks more intricate and meaningful than ever.

Cinematographer Claudio Miranda had an inkling “Top Gun: Maverick” might perform well at the box office opening weekend after he and director Joseph Kosinski boarded a plane and half the passengers were watching the film on their seat-back screens. “It was a real surreal moment,” says the “Life of Pi” Oscar winner, who’s collaborated with Kosinski on all of his features to date including the 2013 sci-fi thriller “Oblivion” that also starred Tom Cruise.

"This film is so important culturally and to so many people," she said at Poland's international cinematography festival.

Describing lighting as “a character in the movie,” DP Autumn Durald Arkapaw said her approach to Ryan Coogler’s Black Panther: Wakanda Forever was about creating a “texture of grief throughout the film.”

“Titanic,” “Avatar” and “Back to the Future” are just a few of Deborah L. Scott’s many credits as a costume designer, but Steven Spielberg’s “E.T: The Extra-Terrestrial” is one that Scott is particularly fond of. “I have fun memories of making it, and I can’t believe it’s 40 years,” Scott says as the film celebrates its 40th anniversary. “I think it’s lasted partly because Steven was adamant about not doing a sequel or remake and all those things that keep it a classic and unique.”

I'll never forget when Marvel's Black Panther premiered in 2018. The African Student Union at my university organized a huge viewing of the movie at a local theater, complete with a red carpet and an Afrocentric dress code. It was instantly clear that this was a movie for the culture. Now, four years after the debut of Black Panther and two years after the death of actor Chadwick Boseman, the Marvel franchise excitedly yet sorrowfully continues with Black Panther: Wakanda Forever. The film, which hits theaters on November 11, carries much of the visual aesthetic from the first film, including the beautifully complex hairstyles created by the film's hair department lead, Camille Friend.

Temprimental VFX was responsible for all visual effects on Blonde led by Raoul Bolognini, owner, VFX producer/supervisor and Phillip Mosses, VFX supervisor.

Personal tales of hubris, ego and living large dominated the Camerimage International Film Festival, with the Florian Hoffmeister-shot drama “Tár,” directed by Todd Field, taking the top prize at the leading annual cinematography event.