Cinematographer Autumn Durald Arkapaw Discusses New Film ‘Sinners’

LOS ANGELES, CA — Autumn Durald Arkapaw, a celebrated cinematographer, is making headlines for her work on the upcoming film ‘Sinners.’ Directed by Ryan Coogler, the movie is set in the Mississippi Delta during the Jim Crow era. It stars Michael B. Jordan as identical twins Smoke and Stack who return home from Chicago, only to face unexpected challenges from local vampires on the opening night of their juke joint.

Shortly before filming began, Arkapaw received the script from Coogler and was immediately impressed. ‘I was just blown away,’ she said. ‘If you don’t know anything about the storyline and you read something like that, that’s so unique.’ She penned a lengthy email to Coogler expressing her thoughts and visual ideas derived from the script.

The film’s visual style evolved significantly during the pre-production process. Initially, Coogler planned to shoot in the Super 16 format, inspired by his previous work on ‘Fruitvale Station.’ However, after discussions with Arkapaw and the visual effects team, they shifted to 35mm film and eventually decided to use large-format 65mm for the stunning visuals.

Arkapaw made history as the first cinematographer to film in 65mm for IMAX. Her technique involved experimenting in the California desert, where they tested both 35mm and 65mm formats. ‘We screened those tests at FotoKem and the headquarters of IMAX,’ Arkapaw recalled, noting the transformative experience of seeing their tests on a larger screen.

One standout moment in the film features the vampire character Remmick, played by Jack O’Connell. Arkapaw described O’Connell’s entrance as grand, emphasizing Coogler’s desire to hint at Remmick’s supernatural abilities. The scene was planned to occur at magic hour, capturing the beauty of the sunset while also advancing the storyline.

However, the shoot was not without challenges. Arkapaw shared, ‘The IMAX camera jammed right before we were about to shoot one shot of him looking at the sun on the horse.’ Fortunately, they were able to fix the issue just in time to catch the shot.

Reflecting on her cinematic journey, Arkapaw expressed her eagerness to let the 65mm format shine, capturing the essence of classic Westerns through dynamic movement. ‘We had cameras on cranes, and there are a lot of moving shots like an old Western,’ she said. ‘It’s a beautiful scene.’