The cinematography by Mauro Fiore is stylishly flawless, with its practically black-and-white, grainy look.

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The original music was composed by Howard Shore, with cinematography by Andrew Lesnie, (director of photography).

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Cinematography by Takao Saito and Masaharo Ueda.

NEWYORKER: Akira Kurosawa's Dreams

Cinematography by Tonino Delli Colli.

NEWYORKER: Life Is Beautiful

Magnificent cinematography by Janusz Kaminski.

NEWYORKER: The Diving Bell and the Butterfly

Wonderful cinematography by David Watkin.

NEWYORKER: This Boy��s Life

Golden-hued cinematography by Zhao Fei.

NEWYORKER: Sweet and Lowdown

Cinematography by Tonino Nardi.

NEWYORKER: Open Doors

Cinematography by Frederick Elmes.

NEWYORKER: Kinsey

Cinematography by Yves Cape.

NEWYORKER: Humanit��

Cinematography by Alex Thomson.

NEWYORKER: Alien 3

Cinematography by Rodrigo Prieto.

NEWYORKER: Frida

Cinematography by Jost Vacano.

NEWYORKER: Total Recall

Cinematography by Donald McAlpine.

NEWYORKER: Patriot Games

Cinematography by Oliver Stapleton.

NEWYORKER: Llet Him Have It

Cinematography by Sacha Vierny.

NEWYORKER: The Cook, the Thief, His Wife & Her Lover

Cinematography by Wally Pfister.

NEWYORKER: Inception

Cinematography by Peter James.

NEWYORKER: Black Robe

Cinematography by David Watkin.

NEWYORKER: Hamlet

Cinematography by Roger Pratt.

NEWYORKER: Troy

Cinematography by Darius Khondji.

NEWYORKER: Midnight in Paris

Cinematography by Peter Suschitzky.

NEWYORKER: Naked Lunch

Cinematography by Christopher Doyle.

NEWYORKER: Hero (2004)

Cinematography by Tony Forsberg.

NEWYORKER: Sunday��s Children

Cinematography by Janusz Kaminski.

NEWYORKER: A.I.: Artificial Intelligence

Cinematography by Remi Adefarasin.

NEWYORKER: Truly, Madly, Deeply

Cinematography by Robert Elswit.

NEWYORKER: Michael Clayton

The cinematography, by Barry Sonnenfeld, is handsome, but in a studied and not very expressive way.

NEWYORKER: Miller��s Crossing

The dark-toned cinematography, by Tom Stern, is as redolent of the past as old leather and walnut.

NEWYORKER: The Man in Charge

Not to be outdone, the cinematography, by Andrij Parekh, watches over these absurdities with a brooding calm.

NEWYORKER: Cold Souls