Claire Mathon

Claire Mathon, born in ’75, is basically a wizard with a camera. You’ve probably stumbled across her work even if you didn’t realize it—her visuals have this haunting, almost poetic quality that sticks with you. Take Portrait of a Lady on Fire, for example. That film? Straight-up mesmerizing. Every frame looks like it could hang in a gallery. She somehow turns candlelight into pure magic, making you feel every stolen glance and unsaid word. But she doesn’t just stick to period dramas. Nope. In Stranger by the Lake, Mathon flips the script entirely—suddenly, you’re dropped into these sun-drenched, eerie lakeside scenes where suspense creeps up on you, subtle as a shadow. Her use of natural light is wild, almost makes you squint at the screen, like you’re actually on that beach. It’s not flashy, but it’s tense as hell. Then there’s Spencer. Honestly, she nails the claustrophobic, fairy-tale-gone-wrong vibe of Princess Diana’s world. The way she plays with color and space? It’s not just pretty—it hits you right in the gut, making everything feel both grand and suffocating at the same time. There’s a reason directors keep calling her up. She’s not just a cinematographer, she’s basically telling her own story through the lens, making you see these characters in new, painfully human ways. And hey, she’s even popped up as an actress once or twice, just to keep things interesting. Bottom line: if you spot her name in the credits, you know you’re in for something special.