Photo Credit; Getty Images
Autumn Durald Arkapaw is having a moment that marks both a personal milestone and a historic shift in Hollywood. The cinematographer recently made history as the first woman of color to earn an Academy Award nomination for best cinematography, recognized for her work on Ryan Coogler’s film “Sinners.” Speaking on Variety’s Awards Circuit Podcast, Arkapaw reflected on what the nomination means to her after years of steady, determined work behind the camera.
“You dream about those things. It’s a dream come true,” Arkapaw said. While she has already received nominations from the British Society of Cinematographers, BAFTA, and the American Society of Cinematographers, the Oscar recognition still feels surreal. She admitted she has not fully processed the moment, noting that the film has been celebrated since its release in April and the pace has not slowed.
“Sinners” itself became part of awards history, earning 16 Oscar nominations and breaking the all time record. Arkapaw was quick to note that she was not the only one making history, pointing to the scale of the film’s overall recognition and the collaborative effort behind it.
The film marked Arkapaw’s second collaboration with director Ryan Coogler, and their creative partnership continues to grow. During the podcast, she revealed that she will reunite with Coogler on his upcoming reboot of “The X Files.” The two are also already in conversations about “Black Panther 3,” signaling a long term working relationship built on trust and shared vision.
Arkapaw recalled her earliest encounter with Coogler long before they worked together. She once noticed him sitting at a nearby table in a cafe while she was having lunch with her agent. They had never met, and she was unsure if he knew who she was, but she remembers clocking the moment clearly. Years later, cinematographer Bradford Young
recommended her for “Creed,” though the opportunity did not materialize because the studio felt she did not yet have enough credits.
Her career continued to build through projects like “The Sun Is Also a Star,” “Mainstream,” and Marvel’s “Loki.” A key turning point came when Rachel Morrison transitioned into directing and suggested Arkapaw as a cinematographer who would be a strong fit for Coogler. After a Zoom call that felt like talking to family, they met in Atlanta and the collaboration began in earnest.
“Sinners” also represented a technical milestone. Arkapaw became the first female cinematographer to shoot on Imax 65mm and Ultra Panavision 70. She noted that some of the biggest challenges were beyond her control, particularly the unpredictable weather during a summer shoot in New Orleans.
When asked about her favorite shot, Arkapaw pointed to the church scene. She vividly recalled its conception during a location scout with production designer Hannah Beachler and Coogler. Once the actors were dressed by costume designer Ruth E. Carter, Arkapaw felt as if she had stepped back into the 1930s.
She also spoke about filming the climactic fight scene, praising her camera team for protecting her from getting splattered in blood by using tarps and duvetyne. The first day of shooting was equally memorable, as it featured the end credit scene with blues legend Buddy Guy. Shooting two formats that had never been combined before while working with Buddy Guy on day one brought pressure, but the day went beautifully.
More than a decade after being named to Variety’s 10 Cinematographers to Watch list, Autumn Durald Arkapaw has firmly secured her place in Oscar history, with her future collaborations already drawing just as much anticipation as her groundbreaking past.
