As a colorist and filmmaker, I have always admired how cinematography can transform storytelling, turning a narrative into a profound visual experience. Arrival, directed by Denis Villeneuve is one such film that exemplifies this artistry, with Bradford Young’s exceptional work elevating its narrative themes of time, communication, and humanity. In this article, I delve into the cinematic brilliance of Arrival from my perspective, breaking down its various elements while reflecting on how they impacted me both as a viewer and a professional.
Cinematography Analysis Of Arrival
About the Cinematographer
Bradford Young, the cinematographer behind Arrival, is an artist I hold in the highest regard. His ability to blend realism with deeply emotional storytelling is unparalleled. Known for his work on Selma and A Most Violent Year, Young brings a unique, personal touch to every frame he composes. What sets him apart is his dedication to authenticity. By using natural lighting and intimate compositions, he ensures that his visuals resonate emotionally while remaining grounded.
In Arrival, Young’s approach is distinctively subtle yet transformative. He takes a sci-fi film—a genre often characterized by visual extravagance—and makes it feel personal, intimate, and deeply human. His collaboration with director Denis Villeneuve created a visual language that transcends conventional storytelling, immersing us in a world that is as thought-provoking as it is otherworldly. Young’s emphasis on realism, achieved through practical lighting and naturalistic tones, grounds the film’s abstract concepts, making them feel tangible and relatable.
Inspiration for the Cinematography of Arrival
The visual style of Arrival is directly inspired by its themes: circularity, connection, and discovery. One of the most fascinating aspects of the film is how these ideas are reflected in its cinematography. Denis Villeneuve and Bradford Young drew inspiration from abstract art. Dark, subdued aesthetic lends itself beautifully to the film’s introspective mood, creating a sense of mystery that lingers throughout.
I found the philosophical influence of the hermeneutic circle particularly compelling. This concept, where understanding the whole gives meaning to its parts and vice versa, is evident in the circular motifs that permeate the film. From the heptapod language to the rounded meeting room where Louise Banks deciphers their communication, these visual elements echo the story’s non-linear exploration of time. Even the muted color palette, with its earthy tones and soft gradients, reinforces this sense of continuity.
Villeneuve once described the film’s mood as akin to “a dreary Tuesday morning bus ride.” This everyday monotony juxtaposed with the extraordinary alien encounter is a fascinating contrast, and Young captures this balance with poetic precision.
Camera Movements in Arrival
The camera movements in Arrival are a masterclass in intentionality. Every pan, tilt, and static frame feels deliberate, inviting the viewer to linger on the story’s reflective tone. From the opening moments, slow, ascending pans introduce us to the narrative’s fluid timeline, mirroring the circularity of the story. These movements subtly guide us through transitions between past, present, and future, immersing us in Louise’s perspective.
What struck me most was Young’s use of handheld shots during emotionally intense moments. For example, in scenes where Louise confronts the fragmented memories of her daughter, the handheld aesthetic enhances the raw vulnerability of the character. In contrast, the scenes within the alien spacecraft feature smooth, calculated tracking shots, reflecting the heptapods’ advanced understanding of time and space. This deliberate contrast between the human and alien worlds highlights the central tension of the narrative: the limitations of human perception versus the aliens’ omniscience.
Compositions in Arrival
As someone who pays close attention to framing, I found the compositions in Arrival nothing short of brilliant. Bradford Young’s approach emphasizes isolation, connection, and discovery, themes that are central to the story. Characters are often framed within vast, empty spaces, such as the fog-covered landscapes surrounding the alien ship or Louise’s moments of solitude at home. This isolation visually underscores her internal struggles and humanity’s disconnection amidst the global crisis.
One of the most striking compositional choices in the film is the symmetrical framing of human and alien interactions. In Louise’s first encounter with the heptapods, she stands on one side of a foggy screen, with the aliens on the other. This division emphasizes the linguistic and cultural barriers between the two species. As their communication progresses, the framing becomes more balanced, visually reflecting their growing understanding and connection.
Lighting Style of Arrival
Bradford Young’s lighting in Arrival is an aspect I found particularly inspiring. He eschews traditional sci-fi lighting tropes in favor of a naturalistic approach. Soft, diffused light dominates the film, creating an atmosphere of quiet introspection. The overcast skies and muted tones evoke a sense of realism, grounding the extraordinary events in a believable world.
Inside the heptapod ship, the lighting takes on an ethereal quality, with fog diffusing the light to create an otherworldly ambiance. This contrast between the alien and human environments enhances the film’s exploration of bridging the gap between two vastly different worlds. In Louise’s personal moments—whether at home, in the hospital, or at the university—natural, warm lighting adds an emotional depth that contrasts with the cool tones of the alien encounters. This interplay between warmth and coolness reflects the film’s thematic exploration of connection and separation.
Lensing and Blocking in Arrival
The choice of lenses and blocking in Arrival contributes significantly to its visual storytelling. Bradford Young and Denis Villeneuve opted for wide-angle lenses, which simultaneously capture the enormity of the heptapod arrival and the intimacy of Louise’s emotional journey. This duality creates a powerful visual dynamic, emphasizing both the scale of the alien encounter and the deeply personal stakes of the story.
Blocking is equally deliberate, with character placement reflecting emotional and narrative progression. For instance, when Louise first enters the alien ship, she appears small and vulnerable, dwarfed by the environment. As she gains confidence in her communication with the heptapods, her positioning within the frame becomes more central and assured. This visual progression mirrors her journey from uncertainty to understanding.
Color Grading of Arrival
As a colorist, I cannot overlook the masterful use of color grading in Arrival. The film’s palette is dominated by desaturated tones—grays, blues, and greens—that perfectly align with its somber mood and contemplative themes. This muted approach lends the visuals a grounded, almost monochromatic feel, allowing the emotional weight of the narrative to take center stage.
One aspect I particularly admire is how color shifts subtly mark changes in Louise’s perception of time. Flashbacks (or flash-forwards) of her daughter are imbued with warmer tones, creating a stark contrast with the cooler hues of the present. This interplay between warmth and coolness reinforces the film’s exploration of time as a fluid, interconnected experience.
The fog inside the heptapod ship also plays a pivotal role in the color grading. By softening the light and desaturating the colors, it creates a sense of ambiguity and mystery, perfectly capturing the alien environment’s enigmatic nature.
Final Thoughts
Arrival is a film that transcends traditional sci-fi storytelling, and Bradford Young’s cinematography is a significant reason why. His ability to blend realism with emotional depth results in a visual language that mirrors the film’s themes of communication, time, and humanity. From the deliberate camera movements and thoughtful compositions to the nuanced use of lighting and color grading, every element of Young’s work contributes to an immersive cinematic experience.
As a filmmaker and colorist, I am deeply inspired by Arrival. It serves as a reminder of the power of visual storytelling to convey abstract concepts and evoke profound emotions. Bradford Young’s work on this film is not just a technical achievement but a testament to the artistry of cinematography—a craft that, at its best, connects us to the universal truths of our existence. Arrival is, without a doubt, a masterpiece that will continue to resonate with audiences and filmmakers alike.