Michael Fimognari is an American director and cinematographer, best known for his work on the To All the Boys I’ve Loved Before trilogy (based on Jenny Han’s best-selling novels) and Mike Flanagan’s 10-episode re-imagining of Shirley Jackson’s masterpiece, The Haunting of Hill House, all for Netflix.
As cinematographer, Michael designed the vibrant visual aesthetic for To All the Boys I’ve Loved Before, then directed and photographed To All the Boys: P.S. I Still Love You and To All the Boys: Always and Forever, and also served as Executive Producer on the latter.
A graduate of the Pennsylvania State University and the USC School of Cinematic Arts, Michael directed an Emmy Award-winning short film before beginning his career as a cinematographer. Among the critically-praised films Michael has lensed are Shawn Ku’s TIFF International Critic’s Prize winner Beautiful Boy; Julia Hart’s superheroine drama Fast Color; Ry Russo-Young’s Before I Fall (based on Lauren Oliver’s best-selling YA novel); and two Flanagan-directed Stephen King adaptations: Doctor Sleep and Gerald’s Game.
A member of the Directors Guild of America and the International Cinematographers Guild, Michael is represented at WME by Holly Jeter (directing) and Jasan Pagni (cinematography).
WORDS ABOUT PICTURES
Michael Fimognari (who also helmed the upcoming third feature in the franchise, “To All the Boys: Always and Forever, Lara Jean”) expands out the reach and emotions of the story to make a sequel that’s bigger and better than its delightful predecessor. “P.S. I Still Love You” effectively operates as both its own feature and a bridge to the more adult questions Lara Jean and company will face in the final offering. It’s a love letter to teen movies of the past, but also a smart look at what they might be in the future.
While Michael Fimognari’s film does have some heart-fluttery moments—chiefly the first reappearance of heartthrob Peter (Noah Centineo), framed in a doorway and blessed with a nice winter jacket and a crooked smile—what’s more arresting is its gentle wisdom about all the stuff that happens after the swoon. The second part of a trilogy (the third film has already been shot and will be released later this year), P.S. I Still Love You is able to dwell in a credibly confused middle place, where the rapid blushes of teen romance must contend with all the restlessness, uncertainty, and selfishness of adolescence.
P.S. I Still Love You excellently and naturally builds off the story of To All the Boys, continuing to depict Lara Jean's coming of age as she learns the difference between fantasy and reality when it comes to love and relationships. The sequel leans less on voiceover to immerse viewers in Lara Jean's innermost thoughts and feelings, showing a maturity in allowing Michael Fimognari's directing the actors' performances to do more of the heavy lifting. Much like its main character, To All the Boys: P.S. I Still Love You is so sweetly, openly earnest in its love of love that it transcends cheesiness and gives viewers permission to indulge in unabashed intimacy and romance for its entire one hour and 40-minute runtime.
It feels like the kind of movie you wish they made more often for all the boys, and girls, still figuring out who they are — especially the ones who don’t tend to see themselves nearly enough on screen: a reflection shinier than real life maybe, but generous and good-hearted to the core.
Doctor Sleep shows considerable effort to ingratiate itself to discerning cinephiles, from the moody Newton Brothers score to cinematographer Michael Fimognari’s dark blue nighttime palette; as a whole, the movie conjures an eerie and wondrous atmosphere that blends abject terror with a somber, mournful quality unique to Flanagan’s oeuvre.
Cinematographer Michael Fimognari (The Haunting of Hill House) keeps finding new ways to make simple moments dynamic and let familiar images from The Shining get under our skin in whole new ways.
All this unfolds against a backdrop of post-apocalyptic drought and poverty, beautifully shot in New Mexico by cinematographer Michael Fimognari, and with skillfully integrated visual effects that, along with Rob Simonsen’s gorgeous score, build to startling moments of visual and melodic ecstasy.
Los Angeles Times
Moody and strange, “Fast Color” has a solemnity that haunts almost every frame. Shot in New Mexico, Michael Fimognari’s images are wide and graceful, with skies that stretch the edges of the screen and desert landscapes of deep, sweeping barrenness.... the finesse of the camera work a constant pleasure.
New York Times
The sense of grandeur that Fast Color possesses comes from just how rewardingly the story unfolds, as well as how gorgeous it is in every respect. Cinematographer Michael Fimognari evokes the very best road movies and westerns in the way he captures the vistas of the nameless swath of middle America in which the film takes place.
10 Emmy Nomination Wishes: Michael Fimognari - Outstanding cinematography in a limited series or movie. Look, sometimes we're all just suckers for an extended tracking shot and if you like your cinematography ambitious and attention-grabbing, it doesn't get much better than Fimognari's work in the "Two Storms" episode of this Netflix haunted house saga.
The Hollywood Reporter
Many factors set the episode apart, including time jumping between past and present scenes and top-notch cinematography. "Two Storms" uses an 18-minute long take that travels with the characters, ducking and weaving around them and throughout the funeral home. This builds a sense of escalating tension which heightens both the emotional resonance and the sense of dread over the threats to the siblings. The result is one of the strongest episodes of the year in any genre.
The atmospheric cinematography is immersive, and while the two timelines have a slightly different aesthetic, they both feel like they’re part of the same story.
To All the Boys is filled with sweet, endearing moments to melt the iciest of hearts. And if that isn't your thing (really though, give it a shot, you'll be surprised), the stunning cinematography and indie soundtrack is unbelievable too.
The diverse, authentic cast and the beautiful cinematic shots showcasing a realistic coming of age story that deals with problems we all face is exactly the direction Hollywood should be taking from now on.
High marks go to the cinematography by Michael Fimognari, a sublime blend of capitalizing on the region’s haunted beauty and the occasional non-naturalistic touch that keeps Sam’s journey firmly in the realm of unease.
Shot in lovely, moody shades of gray, by cinematographer Michael Fimognari.
Los Angeles Times
Together, director Ry Russo-Young and cinematographer Michael Fimognari come up with some breath-catching scenes that take full advantage of the story’s almost mystical Pacific Northwest locale for a movie that never sells its teen audiences short.
Michael Fimognari’s elegant deep-focus camerawork blends a nostalgic feel with contemporary technology and builds tension with disturbing bits of business unfolding in the background or extreme foreground of scenes.
Director Mike Flanagan and cinematographer Michael Fimognari have crafted a beautiful piece of theatrical horror.
Even when you want to avert your eyes, you can’t. That’s in part because of Michael Fimognari’s impeccable cinematography. On a streak with modern genre (he also recently shot “Oculus,” “Beautiful Boy,” and “The Lazarus Effect”), Fimognari brings such a tasteful, sumptuous touch to “Ouija.”
The visually sumptuous film, featuring Michael Fimognari's autumnal cinematography and Patricio M. Farrell's perfectly vintage-looking sets and costumes, actually appears to date from the period in which it's set.
The Hollywood Reporter
There are long, beautiful, continuous shots, with the camera (cinematography by Michael Fimognari) sometimes gliding past the actors, as if in search of another plot twist.
The Village Voice
The smooth, supple lensing of Michael Fimognari amps the tension appreciably in key scenes, most notably when the camera gracefully glides, then remains tightly fixed, to isolate a character speaking with, or reacting to, someone else.
...a carefully paced, superbly photographed psychological thriller in which the villain is a sadistic and very patient entity that seems to revel in playing excruciatingly elaborate mind games before exacting its bloody toll.
“Oculus” is a creepy instant classic. The Newton Brothers’ unsettling score and Michael Fimognari’s ominous cinematography contribute to the aura of grotesque menace.
Visually the film is extremely strong... Like the mirror itself, the images and Michael Fimognari’s camera suck us in, the camera moves deft, the compositions inviting.
Beautiful Boy has a gorgeously textured, almost dreamy aesthetic, its close-ups milky and profoundly patient. Michael Fimognari's hand-held camera moves without jarring jumps or neck-twisting angles, while the story unwinds without explanations or moral lectures...
The work of cinematographer Michael Fimognari, who also did an impressive job with the low-budget frat hazing thriller Brotherhood, unexpectedly leads to the film's bravura moment...
Michael Fimognari's documentary-like strategy ably serves the material as he favors penetrating close-ups, shots through doorways, handheld cameras, nervous camera movements and skewed angles that convey the domestic Petri dish that harbors so much tragedy.
Film Jornal International
The sense of claustrophobic intimacy is greatly enhanced by Michael Fimognari's hand-held cinematography, which, appropriately enough, often has the skittish quality of lensing in a verite documentary.
Cinematographer Fimognari's shaky camera frequently follows them, and stays very close in. There is a certain beauty to this approach - otherwise unenticing suburban backdrops and house interiors become gorgeously abstracted...
Helping to frame the experience is the excellent cinematography on display that adds even more depth to the themes... Of note is a hotel scene in which we are in the middle of a heated exchange between Bill and Kate and given one camera to flit between each person as they revolve around the room. The dizzying spectacle left me breathless...
The nocturnal yet jazzily lit cinematography is composed of peppy short cuts while the camera often remains stationary or slow moving before ending in a dazzling track in the bookstore with the rhythm of a dance.
The Hollywood Reporter
Working with American d.p. Michael Fimognari and American-Chinese jazz composer Hsu Wen, Chen evokes a romantic, borderline unreal Taipei in which anything is possible.
The vivacious cinematography basks the city in opulent colors, while briskly moving scenes accelerate the plot at an energetic pace.
Propelled by a likeable cast, imaginative cinematography by Michael Fimognari, and mostly believable situations, the film is likely to resonate for anyone who was ever a teenager.
The Hollywood Reporter
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