Douglas Koch

Douglas Koch’s name might not be the one you see splashed across billboards, but trust me, if you’ve watched “Crimes of the Future” (2022), “Trap” (2024), or the cult favorite “Last Night” (1998), you’ve seen his work in action. He’s the kind of cinematographer who doesn’t just point and shoot—he paints with light and shadow, crafting those weird, dreamy, sometimes downright disturbing visuals that stick with you long after the credits roll. Let’s talk “Crimes of the Future.” That film’s not just your average sci-fi body horror trip—Koch’s visuals crank up the unease, wrapping Cronenberg’s wild ideas in a slick, almost clinical glow that makes your skin crawl. It’s like he’s got this sixth sense for turning a sterile room into the most unsettling place on earth. Then you’ve got “Trap.” Even though it just dropped in 2024, people are already buzzing about how Koch’s camera work keeps you guessing, pulling you into this tense, claustrophobic vibe without ever feeling too flashy or over-the-top. And man, “Last Night” is a whole different beast. Back in ’98, this apocalyptic drama didn’t have a blockbuster budget, but Koch delivered atmosphere for days—Toronto at the end of the world never looked so haunting or intimate. He’s got this knack for making everyday places feel epic, and epic moments feel painfully human. Not every cinematographer can swing between body horror, tension-fueled thrillers, and emotional dramas, but Koch just does it—and somehow, always leaves his fingerprints on every frame.