Top 10 Modern Black And White Movies

#10: “The Lighthouse” (2019)

Robert Eggers’ second feature centers on two men sent to look after a remote island’s lighthouse, which could either be a beacon of enlightenment or insanity. Along with the boxed aspect ratio, the film creates a claustrophobic sentiment through Jarin Blaschke’s black-and-white cinematography. “The Lighthouse” keeps us in the dark with its characters, emphasizing that the only escape is into one’s own madness. Although the studio argued that a color film would be easier to sell, Eggers had envisioned this Gothic nineteenth-century horror story in black-and-white since the scripting stages. Blaschke shared Eggers’ vision, seeking to give the film a “transportive” ambiance. Black-and-white not only makes us feel like we’ve been transported to another world, but another mental plane as well.

#9: “Ida” (2013)

Black-and-white is an ideal way to convey a transitional period in a person’s life. This Oscar-winning film follows a Catholic nun about to take her vows. Upon meeting her only surviving relative, the titular Ida - or Anna as she’s been called most of her life - learns that her parents were Jewish. Accompanying her aunt on a road trip, Ida/Anna questions who she was, who she is, and who she’ll become. This journey of self-discovery is largely internal, but Łukasz Żal and Ryszard Lenczewski’s cinematography hauntingly visualizes the grey era our protagonist is in. Channeling Polish films of the 1960s, “Ida” is a time capsule in more ways than one, immortalizing a young person’s turning point while also confronting the sins of the past.

#8: “Belfast” (2021)

Some films utilize black-and-white to bring out a sense of warmth and comfort that can only come from fond memories. Others use black-and-white to underscore a difficult period from somebody’s past. “Belfast” blends both moods in a story where nostalgia goggles can only romanticize so much. Writer/director Kenneth Branagh based this semi-autobiographical film on his upbringing in the titular Northern Ireland city. While Branagh will always have a strong connection to his hometown, The Troubles serve as a reminder that all good things are fleeting, childhood being one of them. Cinematographer Haris Zambarloukos highlights the highs and lows of Branagh’s boyhood, going to the theater being the most consistent source of escapism and one of the few uses of color.

#7: “Good Night and Good Luck” (2005)

George Clooney’s best directorial outing to date is one of the quintessential films about the importance of journalism. More specifically, the importance of broadcast journalism. In the 50s, television was not only a new medium for entertainment, but a new source of information. As Senator Joseph McCarthy fuels the Red Scare, journalist Edward R. Murrow uses his platform to spread the truth, sponsors and his reputation be damned. While Clooney employs an all-star cast, most notably David Strathairn as Murrow, McCarthy is exclusively portrayed through archival footage, making it impossible to look away from the facts. Since the footage of McCarthy was in black-and-white, cinematographer Robert Elswit presents the film as if we were watching a 50s news telecast, albeit through a wider, clearer lens.

#6: “Sin City” (2005)

Where most comic book movies continue to take major creative liberties, Robert Rodriguez sought to deliver a faithful adaptation of “Sin City,” even bringing on Frank Miller as a co-director. Beyond replicating much of the pulpy dialogue from page to screen, Rodriguez’s cinematography doesn’t stray from the source material’s black-and-white roots. There are glimpses of color to be uncovered. In most modern black-and-white movies, color usually provides a symbol of hope or innocence. In “Sin City,” it’s often used to foreshadow somebody’s grim fate, to spotlight how dangerous a character is, or to intensify the bloody beating somebody is enduring. The result is one of the grittiest and most gorgeous movies we’ve ever seen with every frame worthy of an art gallery wall.

#5: “The Artist” (2011)

Black-and-white movies are sadly a rarity nowadays, but silent pictures are even harder to come by. Michel Hazanavicius took two big swings with “The Artist,” which paid off with the first Best Picture Oscar for a mostly silent film since the award’s inaugural year. Along with cinematographer Guillaume Schiffman, Hazanavicius captures the look and feel of a 1920s picture. Even cast members like Jean Dujardin resemble stars of the silent era. For those who believe silent films are “boring,” “The Artist” serves as a reminder of how humorous, charming, romantic, exciting, and tear-jerking a film can be with almost no noise. Sound, like color, certainly has its advantages. By pushing film toward realism, though, cinema’s dreamlike quality can be lost. “The Artist” brings it back.

#4: “Ed Wood” (1994)

Edward Davis Wood Jr. was not a good director. In fact, he may’ve been the worst Hollywood director to make more than one movie. That doesn’t mean he wasn’t passionate about his craft. That passion rubbed off on Tim Burton, who did Wood’s life story justice in a biopic that’s simultaneously romanticized and brutally honest. To do right by the man who gave us “Glen or Glenda” and “Plan 9 from Outer Space,” Burton insisted that the film “had to be in black-and-white,” even if it meant switching studios. Burton realized his vision with a film that possesses a B-movie spirit, but an A-list cast, script, and cinematography from Stefan Czapsky. Like Burton’s “Frankenweenie,” to produce “Ed Wood” in color would’ve missed the point entirely.

#3: “Roma” (2018)

Despite winning three Oscars, two of which were for Alfonso Cuarón’s direction and cinematography, we’ve all met somebody who argues that nothing happens in “Roma.” Not to sound like a pretentious Letterboxd user, but life happens in “Roma!” With the appearance of an old photograph, the film’s use of black-and-white accentuates the dreariness of the titular neighborhood and the trials our characters must overcome. Yet, the cinematography also emphasizes that even when performing the most mundane tasks, something deeper can be happening beneath the surface. You just have to look closer. Looking closer at protagonist Cleo, we see her evolve from a live-in maid to a beloved member of the family. “Roma” finds beauty in its simplicity, saying a mouthful with few words or colors.

#2: “Raging Bull” (1980)

We’re not sure what’s more shocking. That Martin Scorsese didn’t take home the Best Director Oscar for “Raging Bull” or that Michael Chapman didn’t win for his breathtaking cinematography. The black-and-white aesthetic establishes that Jake LaMotta might be a champion, although he isn’t somebody we’re going to root for. It’s just one of the elements that separates “Raging Bull” from the sports movies we’re accustomed to. The story isn’t about an underdog going the distance. It’s about a boxer with 83 wins, but he could never conquer his greatest enemy: himself. While the film is more about LaMotta’s life outside the ring, the boxing sequences are among the most intense ever committed to film with the black-and-white photography sharpening every ounce of blood and sweat.

Before we unveil our top pick, here are a few honorable mentions.

“Frances Ha” (2012)
Before They Went All-In on Pink, Noah Baumbach & Greta Gerwig Embraced Black-and-White

“Clerks” (1994)
Black-and-White Captures the Mood of Someone Who Isn’t Even Supposed to Be Here Today

“She’s Gotta Have It” (1986)
Spike Lee Starts His Bold Cinematic Journey in Black-and-White

“The Elephant Man” (1980)
The Absence of Color Paints a Tragic Yet Sympathetic Portrait of John Merrick

“The Man Who Wasn’t There” (2001)
Black-and-White Feels So Natural That It’s As if the Camera Wasn’t There

#1: “Schindler’s List” (1993)

With “Schindler’s List,” Steven Spielberg sought to represent the holocaust as authentically as possible. The holocaust might not have been in black-and-white, but it’s hard to imagine this tragedy in color. Part of that’s because much of the real-life documented footage is in black-and-white. More importantly, as Spielberg put it, “The Holocaust was life without light. For me, the symbol of life is color.” As such, a little girl in red stands out as one of the few uses of color, stressing that the holocaust was happening in plain sight. Yet, few world leaders acknowledged its existence. Cinematographer Janusz Kamiński also felt that black-and-white would give the film a timeless feel. Full of unforgettable imagery, “Schindler’s List” is guaranteed to stay with the viewer forever.

Which modern movies do you think benefited the most from black-and-white? Let us know in the comments.