Cinematographer Autumn Durald Arkapaw made history with Sinners, a film directed by Ryan Coogler, as it marks the first time a female director of photography has shot a movie using large format IMAX film. Arkapaw received the news from Kodak executive Vanessa Bendetti, which filled her with pride, knowing she had been given such a unique opportunity by Coogler.
IMAX film, a format long favored by directors like Christopher Nolan, has gained a following not only among filmmakers but also moviegoers looking for a more immersive cinematic experience. Initially, Coogler had planned to shoot Sinners using 16mm film, but after a conversation with Warner Bros. executive Jesse Ehrman, he decided to try large format IMAX instead, a decision that gives audiences a higher resolution and a shallower depth of field. Coogler emphasized that IMAX provides an experience that can only be truly felt in theaters, especially in an age when many people watch content on their phones or through streaming services.
Coogler and Arkapaw began experimenting with the format by reviewing 70mm IMAX prints of films like 2001: A Space Odyssey, The Hateful Eight, and Tenet and consulting with Nolan and his cinematographer Hoyte van Hoytema. Coogler quickly fell in love with the format, feeling it was perfect for his film, a genre-bending story about vampires, the blues, and life in the Jim Crow South of 1932.
Arkapaw had worked with IMAX on Wakanda Forever but noted that this time, the film was shot on true IMAX, which she describes as an experience that makes you fall in love with the format. She took advice from Hoytema, who told her not to worry about the weight or size of the equipment and to shoot the film as she would with any other camera. This advice helped Arkapaw approach her work with confidence and freedom.
The filmmakers decided to use a combination of IMAX film and Ultra Panavision 70, an even rarer format used by Quentin Tarantino in The Hateful Eight. This choice means the film has varying aspect ratios depending on the scene, which Coogler explained in a video for Kodak, noting how the different formats perfectly complement the story and its setting.
One scene Arkapaw particularly enjoyed was one that initially wasn’t going to be shot with IMAX due to its dialogue-heavy nature. However, Coogler pushed for it, knowing that the IMAX format would elevate the moment. This scene, which introduces Jack O’Connell’s Irish vampire character Remmick, features a Western-style shot with sunset lighting and eerie crane and Steadicam work. Arkapaw now can’t imagine that scene in any other format.
With Sinners now in theaters, both Coogler and star Michael B. Jordan hope that moviegoers will seek out screenings in special formats like IMAX, whether film or digital. Jordan emphasized that the movie is an experience designed to bring audiences back to the theater.
Arkapaw’s achievements represent a significant moment for women in cinematography. She recalls how, early in her career, she struggled to find many female cinematographers to look up to, with Ellen Kuras being one of the few notable figures. Although there are more women in the field today, barriers still exist, particularly when it comes to major recognition, such as an Oscar win. Only three women have ever been nominated for Best Cinematography: Rachel Morrison, Ari Wegner, and Mandy Walker. Arkapaw understands the importance of her groundbreaking achievement and believes that as more women work with large formats, they will inspire future generations of girls who may not believe such a career is possible for them.
