Janusz Kamiński Movies Ranked — The Cinematographer’s Best

Kamiński’s work in The Post shows that cinematography doesn’t have to be flashy in order to be great. Spielberg’s newsroom drama primarily takes place in, well, newsrooms, which don’t typically have the most flattering light.

Instead of dressing it up artificially, Kamiński leans into the bland aesthetic of the office-space, adding a bit of realism. It also calls back to the work of the great Gordon Willis in All the President’s Men, a clear source of inspiration for the film.

Amistad is one of the lesser-seen Spielberg films, but that doesn’t diminish from Kamiński skillful work on the crushing period piece. It’s a fantastic example of what Kamiński brings to the table when collaborating with Spielberg– he adds a darkness that fits the more adult themes the filmmaker has wanted to tackle post-Schindler.

Yes, it may be one of the most reviled entries in Spielberg’s filmography, but Crystal Skull’s cinematography elevates the film beyond just a disappointing franchise installment. Kamiński beautifully emulates the aesthetic DP Douglas Slocombe established on the first three Indy films.

Kamiński’s action photography is fantastic too, emphasizing the spectacle of each set piece. It’s an homage to action movies of yore in an age where shaky cam was at its height.

Not all of Kamiński’s movies are Steven Spielberg movies. The cinematographer worked on Cameron Crowe’s hit romcom Jerry Maguire. Much like The Post, Kamiński’s work here is understated.

There are probably few people who left Maguire thinking about the cinematography, but that’s probably a testament to the script and acting. Kamiński creates a warm and inviting visual palette, like a sweater you return to on a rainy day.

Maguire’s iconic scenes wouldn’t be iconic without the subtly beautiful lighting adding to the unforgettable romantic moments (and the “Show me the money” moments, of course).

In Catch Me If You Can, Kamiński evokes a time and place. The cinematography in the cat-and-mouse caper efficiently teleports the audience back to a colorful 1960s America. Each shot is a retro delight, likened by Kamiński to “champagne coming out of the bottle, with bubbles and warmth.”

But what makes the cinematography in the film truly special is that there is still variety. Once the storyline enters the 70s, Kamiński deliberately desaturates the tone, emphasizing both the national mood at the time as well as the end of Frank’s reign.

The Lost World is arguably one of Kamiński’s most daring swings. Like Crystal Skull, the cinematographer was presented with the challenge of building on a previous cinematographer’s work. But unlike Crystal Skull, Kamiński chose to nearly completely diverge from the previous installment’s aesthetic.

While Jurassic Park is a great example of Spielberg’s classical period, with warm colors and well-lit grandeur, The Lost World is far more gritty, with low-key lighting and cooler tones. According to Kamiński, this was to fit Spielberg’s new direction. 

As The Lost World illustrates, Kamiński is reluctant to imitate anyone’s style. This philosophy is evident in 2002’s Minority Report, which brought a fresh visual palette to the sci-fi genre.

In a time where cinematographers were attempting to imitate Blade Runner, Kamiński zagged, opting for cool blues and metallic grays. The result is a movie suffused with an impersonal coldness, fitting for its storyline.

West Side Story is a testament to Kamiński’s versatility. Watching movies like Minority Report or The Lost World, few would have expected the cinematographer to be able to pull something like West Side Story off. 

The movie’s colors are gorgeous, and Kamiński captures the choreography in dynamic wide shots that prioritize the dancing over all else. The movie also boasts some of Kamiński’s best camera movement– some of the oners here are mind-boggling. It looks effortless, but it certainly wasn’t

Lincoln isn’t your average historical biopic. It’s an unflinching look at one of the lowest points in United States history, focusing on an exhausted president fighting what seems like an uphill battle.

Kamiński’s work on the film fits the tone– his cinematography here is as bleak as it ever has been, embracing cold winter textures and low-key lighting. The camera moves sparingly, smartly letting Daniel Day-Lewis’s performance be the focus of attention.

In an interview, Kamiński stated that one of the projects he was most proud of was Munich, even though, he admitted, it didn’t get as much attention as much of Spielberg’s other work.

Watch Munich and you’ll understand why Kamiński thinks it’s some of his best work. The spy-thriller shows the cinematographer at his grittiest, leaning into near-docustyle aesthetics for most of the film’s runtime. 

Kamiński’s work with color in Munich has probably never been better. He builds a distinct color palette for each city, a smart choice for a movie which jets around to so many locations.

War of the Worlds came out the same year as Munich, and while both movies are very different, they both are clearly influenced by the September 11th attacks. Munich concerns itself with the aftermath of terrorist attacks, while War of the Worlds focuses on the immediate large-scale tragedy.

Kamiński’s cinematography on the project draws eerily from the footage from 9/11, with gray tones and hand-held camera work pointed upward. The aesthetic grounds the larger-than-life plotline in recognizable imagery, increasing the terror prevalent throughout the film.

Kamiński’s first collaboration with Spielberg as director is also one of his greatest. The DP’s stark black-and-white cinematography of his native Poland is simply unforgettable. 

By 1993, nearly everyone considered black-and-white to be a thing of the past, or at least a curiosity relegated to small indies. But Kamiński’s work on Schindler’s List proved that monochrome still had its place– the cinematographer delivered some of the finest black-and-white images ever.

A.I. is one of Spielberg’s most beguiling works. Upon its release, audiences weren’t sure what to make of it. Kamiński’s cinematography on the project bolsters its mysterious, otherworldly qualities. Lights are hazy and colorful, at times even unnatural. 

It’s an incredible achievement because Kamiński has to do so much. He transports us from an idyllic home to urban underworlds and beyond (far, far beyond). It’s a film which deserves rewatching for many reasons, not least of which is its cinematography.

There’s war cinematography before Saving Private Ryan, and there’s war cinematographer after Saving Private Ryan. Janusz Kamiński’s work on one of Spielberg’s greatest films redefined how directors of photography would approach battle footage.

It all speaks to his boldness: the deliberately imperfect camera choices, the out of sync shutter, the high frame rate, the desaturated colors, the high contrast. All of these effects, to some extent, were achieved in-camera. If it didn’t work, the massive D-Day set piece would have gone to waste.

But they did work, completely immersing the audience in what is considered by many to be the greatest battle scene in film ever. Over two decades later, war cinematography remains in the shadow of Saving Private Ryan.