Germain McMicking

Germain McMicking, honestly, is one of those cinematographers who doesn’t just shoot movies—he gives them a pulse. There’s something about his style that makes you feel like you’re inside the story, sweating it out with the characters. Take Mortal Kombat (2021). Forget the cheesy ‘90s vibes—this reboot is all high-octane energy and wild, bloody visuals. McMicking’s camera work is brutal but slick, catching every face-smash and fireball. It’s like he’s got a sixth sense for knowing exactly when to linger on the gore and when to pull back. Then there’s Berlin Syndrome (2017). The guy swaps out action for tension that’s straight-up suffocating. The way he uses cramped apartments and pale, washed-out lighting? You feel the claustrophobia crawling under your skin. It’s not loud, it’s not flashy, but it’s seriously unnerving. He makes you want to check your locks at night. And don’t even get me started on Nitram (2021). That movie’s a gut-punch. McMicking’s lens doesn’t sugarcoat anything—it’s raw, honest, and kind of haunting. The quiet moments say just as much as the loud ones. He’s not afraid to let the camera sit in uncomfortable silences, which just ramps up the tension. Honestly, his work is the kind of stuff that sticks with you long after the credits roll. He’s got a way of making movies feel like lived-in nightmares—or dreams, depending on the day.