The Oscar-nominated director applies his unique vision to a new medium, delivering a haunting, cinematic perspective beyond the silver screen.
Yorgos Lanthimos, renowned for his striking visual style and fascination with life’s dark absurdities, has distinguished himself among filmmakers, earning a devoted following and widespread critical praise. His prolific output includes three films in as many years since 2023’s Poor Things, starring Emma Stone, which secured him a Best Directing Oscar nomination and Stone a Best Actress win. Yet, alongside his cinematic achievements, Lanthimos has quietly refined another skill: fine art photography, now spotlighted in his debut exhibition and previously featured in W magazine. This showcase marks a significant expansion of his creative journey.
Opening at Mack + Webber 939 gallery in Los Angeles on March 29 and running through May 18, Yorgos Lanthimos: Photographs presents works from his two 2024 photography books: i shall sing these songs beautifully, captured during the filming of Kinds of Kindness in New Orleans, and Dear God, the Parthenon Is Still Broken, shot amid Poor Things production in Budapest.
While some images nod to his films—featuring stars like Emma Stone and Margaret Qualley in and out of character—they transcend mere behind-the-scenes snapshots, offering a deeper dive into Lanthimos’s eerie, signature universe. What started as a casual habit of photographing film sets has evolved into a serious artistic pursuit.
“Photography has become increasingly important to me over the past few years, and I want to focus on it more, especially now that I’m taking a break from filmmaking after three consecutive projects,” Lanthimos shared with W. “Releasing a film is a grander endeavor than mounting a photography exhibition, but the thrill and anxiety of unveiling your work to the public feel just as real—whether it’s on a cinema screen or as a print on a gallery wall.”
Though the medium is new, Lanthimos’s photographic talent is evident. In 2023, he collaborated with his frequent muse, Emma Stone, in Athens, capturing her in black-and-white portraits for W’s Art Issue, inspired by their short film Bleat. (This wasn’t their first editorial together—in 2019, he photographed Stone as a quirky dog enthusiast for W’s Directors Issue.)
“A few years back, Yorgos got into film photography,” Stone told W. “He started developing his own prints and even taught me. We began in a makeshift darkroom in his bathroom, but he’s since built a professional setup in his Athens studio. He mostly learned developing from YouTube tutorials.” Lanthimos уточнил (clarified) that a “master printer” gave him a 20-minute lesson, but his largely self-taught mastery remains impressive.
Below, Lanthimos reflects on his photography practice and his inaugural exhibition:
“There’s a stunning photo of Hunter Schafer here. It’s one of my favorite portraits I’ve ever taken. It’s tough to pinpoint why—maybe that’s the magic of photography. Her unique presence plays a role, but in that split second of exposure, everything aligned perfectly. Hunter’s been photographed countless times and can transform effortlessly, yet this image feels both stripped-down and powerful. I caught her in a liminal moment—between embodying a character and stepping out of it—and something extraordinary emerged.”
How does your photography differ from your filmmaking?
“Taking photos on set has evolved for me. Early on, it was about preserving memories—snapping scenes, actors in character, or moments for film promotion. But lately, I’ve wanted my photography to stand apart from the films, offering a fresh angle. I’ve started looking beyond the set, exploring the locations we’re filming in and the people around them. It’s become a distinct practice, one that I hope holds its own. I’ve also been photographing outside of film entirely—mostly in Greece and Athens—and aim to build a separate body of work from those soon.”
What makes these photos special to you?
“These images weave a narrative distinct from my films. With Poor Things, there’s the added layer of developing negatives with Emma every night after shooting wrapped. Actors would pause between takes to pose for my large-format camera, or I’d wander behind the massive sets, avoiding the bustle, and capture the raw framework of the worlds we built. For Kinds of Kindness, the photos highlight tiny details—characters, actors, people—seen from a new vantage point, while also reflecting the real landscapes we shaped into fictional realms.”
