In filmmaking, cinematography is often considered a tool to enhance the story. However, in some films, it goes beyond just supporting the narrative – it becomes an integral part of the storytelling itself. Through the use of creative timelines, bold colour schemes, and inventive visual techniques, these films blur the line between form and content, where the way a story is told visually becomes just as important as the plot. Here, we’ll explore a few standout examples of films where cinematography is crucial to the narrative.
1. Memento (2000) – Non-linear Storytelling with Timeline
Christopher Nolan’s Memento is perhaps the most famous example of a film where the timeline itself is the storytelling device. The film follows Leonard Shelby, a man with short-term memory loss, as he tries to solve the mystery of his wife’s murder. The non-linear structure reflects Leonard’s fractured memory. The film alternates between black-and-white scenes that unfold in chronological order and colour sequences told in reverse, building up to the shocking conclusion.
The visual choice of alternating timelines isn’t just a gimmick; it allows the audience to experience the disorientation and confusion Leonard feels. The cinematography is a key element in conveying the structure of the story, keeping the audience immersed in his perspective. The juxtaposition of black-and-white and colour footage helps to distinguish between Leonard’s past (in black-and-white) and the present (in colour), adding to the disjointed sense of time and memory.
2. The Grand Budapest Hotel (2014) – Colour and Symmetry as Character
Wes Anderson’s The Grand Budapest Hotel is a masterclass in the use of colour, symmetry, and framing as part of the storytelling process. From the vibrant pink hotel to the meticulously arranged props and sets, Anderson uses a distinct colour palette and symmetrical compositions to establish the mood and tone of the film. The whimsical and almost dreamlike quality of the film is heightened by its visual style, with each frame meticulously crafted.
The colours are also a narrative device. The pastel hues of the hotel and the surrounding areas evoke a sense of nostalgia, while the slightly muted tones of later scenes suggest the passage of time and the inevitable decline of the once-thriving hotel. As the story shifts across different periods, the visual style changes too – more vivid during the film’s central storyline, and more subdued during flashbacks to the past, marking the emotional and temporal shifts in the plot.
3. Birdman (2014) – The Illusion of One Continuous Shot
Alejandro González Iñárritu’s Birdman uses a technical feat to create a seamless narrative flow, simulating the experience of a film being shot in a single continuous take. The illusion of one continuous shot – achieved through clever editing, camera movements, and transitions – immerses the audience into the chaotic mental state of Riggan Thomson, a former Hollywood star attempting to resurrect his career on Broadway.
This technique becomes a narrative device in itself, symbolising Riggan’s internal disarray and growing instability. The camera’s constant movement, often floating just behind Riggan or moving in circles, visually reflects his spiralling thoughts and his desperate attempts to control the narrative of his life. The cinematography is an active participant in the storytelling, creating an intense, almost claustrophobic atmosphere that mirrors the film’s themes of ego, self-doubt, and the search for meaning.
4. The Fall (2006) – Cinematic Fantasies in Colour and Composition
Tarsem Singh’s The Fall is a visually stunning film that uses colour, light, and composition not just as a stylistic choice but as an essential part of its narrative. Set in a hospital in 1920s Los Angeles, the film follows a paralysed stuntman who tells a fantastical story to a young girl. As he narrates, the line between the real world and the imagined story blurs, with the vivid colours and intricate designs of the fantasy world contrasting sharply with the drab realism of the hospital.
The costumes, landscapes, and lighting in the fantastical segments are saturated with rich hues, evoking a sense of adventure and larger-than-life mythology. The real-world scenes, on the other hand, are muted and restrained, highlighting the emotional struggle and vulnerability of the characters. Through this juxtaposition of colour and composition, Singh demonstrates how visual style can deepen the emotional resonance of a story, drawing attention to themes of imagination, escapism, and emotional healing.
5. Eternal Sunshine of the Spotless Mind (2004) – Visuals Reflecting Memory and Emotion
Michel Gondry’s Eternal Sunshine of the Spotless Mind uses cinematography to reflect the fluid, fragmented nature of memory. As Joel (Jim Carrey) undergoes a procedure to erase his ex-girlfriend Clementine (Kate Winslet) from his memory, the film’s visuals mirror his emotional journey. In particular, the camera often shifts between time periods and locations with disorienting ease – memories fade and shift as Joel’s emotional state fluctuates.
The film’s use of lighting, camera angles, and set design blurs the line between past and present, making memory feel as fluid and elusive as it does in real life. For instance, in scenes where Joel’s memories begin to collapse, entire sets are literally destroyed, with walls falling down or rooms disappearing, reflecting the disintegration of his relationship. The visual storytelling here doesn’t just represent memory but explores how emotions colour our recollections and how difficult it can be to let go of the past.
Final Thoughts
In these films, cinematography is not just a background tool to tell the story, but an active participant in it. Whether it’s through non-linear timelines, symbolic colour schemes, or inventive visual techniques, the way a film is shot and framed can serve as a powerful narrative device. As filmmakers, understanding the impact of visual storytelling is key to creating more immersive and emotionally resonant work. In these examples, the camera, lighting, colour, and composition do more than capture a story – they are the story.