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Throughout 2025, we have been treated to an extraordinary lineup of films and television from across the globe, showcasing bold storytelling, technical innovation, and distinctive visual styles.
From intimate character-driven dramas to ambitious large-scale productions, this year has highlighted the power of cinematography in shaping unforgettable screen experiences.
As the year draws to a close, we invite you to look back with us at some of the standout productions of 2025 shot on Cooke lenses by trailblazing cinematographers.
In March, miniseries Adolescence took the world by storm with its important message. Director Philip Barrantini reunited with DOP Matthew Lewis for their third project using the ‘oner’ cinematography technique, with each episode filmed in a single take. The pair previously used this approach on Boiling Point, which also garnered widespread acclaim.
Lewis chose the Cooke SP3 32mm lens for the entirety of the project, pairing it with the DJI Ronin 4D.
“The SP3’s offered a lens that was gentle and neutral when sat at T2.8, something that felt like it sat well in the look of the show…a project like this is all about leaning into the realism of a one shot…the clarity of these lenses ticked that box perfectly.”
Combined with heart-wrenching performances from protagonists Owen Cooper and Stephen Graham, and meticulously choreographed camera movement, Adolescence stands as a technical and emotional triumph.
Adolescence. (L to R) Matthew Lewis, Owen Cooper as Jamie Miller, Erin Doherty as Briony Ariston, on the set of Adolescence. Cr. Courtesy of Ben Blackall/Netflix © 2024
Another major cinematic moment this year was feature film Kantara: Chapter 1, shot by Director of Photography Arvind S. Kashyap ISC.
The feature film explores the origins of Kaadubettu Shiva during the Kadamba dynasty era, delving into the untamed wilderness and forgotten lore surrounding his past.
Kashyap shot the film using Cooke S8/i FF and Anamorphic/i FF lenses. “The mild warmth, gentle barrel distortion, and organic texture gave the imagery a living quality that perfectly complemented Kantara’s world.”
Utilising Cooke’s intelligent /i Technology, the film’s VFX sequences remained authentic to Kashyap’s vision, resulting in raw and breathtaking imagery that stood as a defining moment in Indian filmmaking.
Kantara: Chapter 1, Director of Photography: Arvind S. Kashyap ISC
In summer, the highly anticipated third season of Squid Game was released on Netflix to global attention. The series once again became a worldwide phenomenon, delivering sharp cultural commentary on the destructive consequences of human greed, economic disparity, and rigid societal structures all while gripping audiences with its nail-biting intensity.
Season 3 welcomed a new director of photography, Kim Ji-yong. The cinematographer quickly gained recognition for his unmistakable visual style and made history as the first Korean cinematographer to win the Golden Frog at the Camerimage Film Festival. Having previously worked with Cooke lenses on projects such as Decision to Leave (2022), Kim Ji-yong returned to Cooke Anamorphic/i 2x lenses for Squid Game Season 3.
In alignment with the story’s final chapter, the cinematography adopts a darker, more emotional tone than Season 1, delivering an unmissable and powerful conclusion to the series.
Squid Game 3, Director of Photography: Kim Ji-yong
Released in July, The Lychee Road tells the story of a Tang Dynasty minor official who risks everything to deliver lychees across China. Li Shande, middle-aged and struggling, sees this dangerous mission as his last chance for success.
DOP 王博学Wang Boxue CNSC shot the feature on Cooke S8/i FF lenses. The film received multiple award nominations, including Best Cinematography, and went on to win five awards across prestigious Chinese film festivals.
The Cooke S8s with their sharp yet flattering clarity proved ideal for the film’s vibrant aesthetic.
The Lychee Road, Director of Photography: Wang Boxue CNSC
Wes Anderson’s trademark directorial style returned for his latest feature The Phoenician Scheme. The film is set in a dystopian undivided Middle East and centres around wealthy businessman Zsa-Zsa Korda as he appoints his only daughter, a nun, as sole heir to his estate.
This marks Anderson’s first film without longtime collaborator Robert Yeoman ASC, who shot his previous nine films. Stepping in as Director of Photography, Bruno Delbonnel chose Cooke S4/i lenses to bring Anderson’s unmistakable visual language to life through a fresh perspective.
Delbonnel brought warmth and softness to the film with the S4s, making his debut with the director a striking success.
The Phoenician Scheme, Director of Photography: Bruno Delbonnel
Norwegian drama Affeksjonsverdi (Sentimental Value) follows an egocentric film director, Gustav, who reconnects with his two daughters Nora and Agnes as the three navigate their complicated relationships.
The film is directed by Joachim Trier with cinematography by Kasper Tuxen DFF who shot on 35mm film with Cooke 5/i S35 lenses which the duo had used previously for The Worst Person in the World (2021) “and loved them so much we wanted them again… they are sharp but still charming, real and gentle, especially in close-ups.”
The Norwegian feature won the prestigious Grand Prix at the 2025 Cannes Film Festival and remains a strong contender for further accolades, including Golden Globe and Academy Award recognition.
Sentimental Value, Director of Photography: Kasper Tuxen
Kerala Crime Files is a crime drama web television series, the first ever Malayam-language episodic series to be streamed on Disney Plus in India.
The second season of the acclaimed series returned in June, following the investigation into the sudden disappearance of a civil police officer. The show continues to receive praise for its gripping narrative and striking visual style.
Cinematographer Jithin Stanislaus chose Cooke S8/i FF lenses for the series.
“The lenses gave me incredible clarity and texture, even in the shadows. Especially in darker regions with green and blue hues, the Cooke held colour depth in ways other optics just can’t.”
With Jithin Stanislaus’s creative eye combined with Cooke S8/i lenses, Kerala Crime Files Season 2 has set a new benchmark in web-series cinematography; rich in tone, layered in mood, and distinctly cinematic.
Mascha Schilinski’s latest feature has garnered widespread recognition for its haunting yet unforgettable story. Four women, separated by decades but united by trauma, uncover the truth behind the weathered walls of a remote German farm.
Shot on Cooke Speed Panchro lenses by DOP Fabien Gamper, the film boasts a classic, evocative look that perfectly complements its layered narrative. Sound of Falling won the Silver Frog at Camerimage and is an official submission in the run for the 2026 Academy Awards.
Sound of Falling, Director of Photography: Fabien Gamper
Directed by Chen Peisi and shot by cinematographer Zhao Xiaoding (ASC,CNSC) , the comedy film The Stage was released in Chinese theaters on July 25, 2025.
Adapted from the stage play of the same name that toured for nearly a decade, the original work was known for its solid script and well-crafted characters, and the film version proves equally captivating on screen.
The film used Cooke S8/i prime lenses, Varotal/i zoom lenses which proved exceptional in the low light shooting environments.
The Stage, Director of Photography: Zhao Xiaoding ASC, CNSC
Finally, Petra Biondina Volpe’s Late Shift stands out as a major highlight, having won the Golden Frog at this year’s Camerimage Film Festival and earning a place on the shortlist for the 2026 Academy Award for International Feature Film. The Swiss drama offers an unflinching and deeply human portrayal of the immense pressures faced by nurses working in chronically understaffed hospitals.
Shot to create the illusion of a single continuous take, the film amplifies tension and draws the audience directly into the exhausting, high-stakes rhythm of a hospital ward.
Cinematographer Judith Kaufmann BVK crafted the film’s intimate visual language using Cooke S4/i lenses, lending warmth and subtlety to a story driven by urgency, compassion, and quiet resilience.
Late Shift, Director of Photography: Judith Kaufmann BVK
It is incredible to see Cooke lenses continue to play a role in shaping some of the most iconic pieces of TV and cinema over the past year. Here’s to many more in 2026!
